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人体形态和人体是布鲁诺·沃泊夫全部艺术作品所围绕描述的主题。
雕塑家不仅钟情于借助经典的椴树木头来解放其轮廓，而且还取材于坚果类木材和桦树，用凿子和锉刀进行加工，直到人体雕像的真实轮廓显现。从其作品中选取的与真人大小差不多的年轻男女屹立不动，好像在被艺术家赋予其生命的时候，他们的行动又被静止了。他们僵硬地站立在那里，冻结的姿态，面无表情；手臂伸出后或者在前，或者在侧边，却很少弯曲或者缠结在一起。在明确的线条中展现出布鲁诺·沃泊夫雕塑作品的全景，部分的躯干和无腿的半身雕塑展现出内向型的静止，并不受周围环境的影响。有时候他们的视线被转移，而有时候眼神是面向前方或是直视观众的。他们的眼神不会为了相互接触而游离，他们不是为了获得关注，而是跟他们的姿态保持一致。他们专心致志，也被内在地指导着。眼神呆滞，眼睑也有时候是合着的，他们的凝视在任何情况下都保持着可触摸的状态，在空间中产生着存在。
布鲁诺·沃泊夫使用模特来作为他的肖像来源，他从结构上复制和显示等大的人物。然而他并不关心自己的主题是否是可辨认的，而宁可是拟态和模仿的。传统肖像的可辨识性的特点，在他的雕塑复制品中得以降低。
把每一个新的人物通过木雕而赋予鲜活的灵魂对艺术家而言都是一个挑战和尝试，唯有展现逼真的人体形象才可达到这种目的。想象着雕像的精神层面，欣赏者会从内心有感而发。沃泊夫的人物不是对理想丢失的复活，而是通过展现他们所贮藏的公众形象，反映出观察者自己所贮存的印象。这些木雕人物通常是裸体的或者部分着衣的，因此在这些他所喜爱的雌雄同体的身体上，骨骼结构清晰可见。同时，这些人物中未着衣的部分都已经被打磨得非常光滑，呈现出一种皮肤的质感，那些着衣或者有毛发的地方比较粗糙，保留有凿痕或者被涂上柔和色泽的痕迹。光滑抛光的皮肤展示着白色笔绘的痕迹：身体上裸体部分永久的“美白”通过一丝不苟的打磨而得以实现。油漆的木质材料表面，强化了皮肤的纯净，几乎半透明的人物同时变得非人性化。木材本身发生了转变，更是在涂上白色时，失去了其所有的物质形态。因此，材料本身变得无关紧要，形体得到相当得突出。
这种效果的一个卓越的作品是《雌雄同体》，描绘了一个四肢伸展、水平躺在地板上的人物。眼睛闭着，但身体语言产生极度紧张的感觉。所以，这不是睡觉，而是可以更好地解释为是在一个虚拟的形而上学的状态中。曼妙的身形，修长的四肢和精致的五官，最初让人联想到女性形象，再看之下具有男性的性器官，毫无疑问，我们正在观察的一个雌雄同体的存在体。布鲁诺·沃泊夫的人物是孤独的，独立的，在没有背景的情况下，他们在现实空间内体现出差异性，从而成为介于现实与虚构之间的某种投影的接收者。他的人物存在于和观众的对话当中，审视一种通向社会存在的途径，把艺术自由放在考虑的范围之内去研究“社会存在是可以理解的”。
在南蒂罗尔地区，雕塑家的全部艺术作品无疑是来自于木工的传统工艺，这种工艺将山谷和在山谷中生活的群众紧密地融合在一起。然而，布鲁诺·沃泊夫通过其持续的辨证思维在传统的艺术形式基础上达到了新的境界，他通过对材料的精加工和作品本身来传递思想。由专注的平静和温和的张力产生的平衡是布鲁诺·沃泊夫宁静雕像的秘密之处。雕塑家的主角是永远不会突兀的，他们暗示着，他们巧妙地表明着，不强求但是很温和，通过沉默和力量、美感和崇高、忧郁和渴望、传统和创造，最终获取艺术效果。
The human form， the body， is he major subject around which Bruno Walpoth’s artistic oeuvre revolves.
The sculptor favours a piece of monumental lime wood from which to liberate his figures but also uses nut wood and birch and does so by reducing the material with chisel and file until only the realistic features of a human effigy remain. The life-size young women and men that have been extracted appear motionless. It appears as if in very the moment of being brought to life by the hand of the artist， their movements again become paralysed. Their haggard bodies stand there with frozen gestures and facial expressions； their arms stretched out either before them or sideways but only rarely bent or intertwined. In their decidedly tense poses Bruno Walpoth’s full-figure sculptures， along with his torso-less and legless busts， appear introverted static and unaffected by their surroundings. Sometimes their gaze is averted and other times it is straight ahead and directed towards the viewer. Their eyes do not wander in search of contact， they are not trying to catch the eye， rather – as is consistent with their pose – they are fixed in concentration and directed inwardly. The pupils are dull and the lids sometimes even closed， their gaze in any case remains tangible. They generate presence in space. Bruno Walpoth uses models as the source for his portraits， who he anatomically reproduces and presents as life-size figures. However he is not concerned with his subjects being identifiable but rather more with mimesis. The distinctive characteristic features of the personality that represent individuality in traditional portraiture， are played down in his sculptural reproductions.
Each new figure is a challenge， an attempt by the artist to breathe a living soul into carved wood. The true to life form of the body is the means to an end， the conveyor of the psyche， which the viewer has turned inside out whilst imagining the mental state of the figure. Walpoth’s figures are not a revival of lost ideals but rather trough the presence of the public they are repositories， reflecting the viewer’s own store of impressions. Frequently the wooden figures are naked or only partially clothed， so that the bone structure of the apparently androgynous bodies which he predominantly favours is made clearly visible.Whilst the unclothed parts of the figures have been sanded down smoothly and exhibit a skin-like texture， the clothed or hirsute areas are rougher， displaying traces of the chisel or of being painted with pastel-like pigment. The smoothly polished skin shows traces of white paint： permanent “whitening” of the naked areas of the body is achieved through meticulous sanding， working the paint on the surface into the wooden material thus reinforcing the pure， virtually translucent character of the skin whilst simultaneously dehumanizing it. The wood’s matter itself becomes transformed–even more so when coated in white–appearing dematerialized. The material itself therefore becomes irrelevant； it is rather the form that is highlighted.
The smoothly polished skin shows traces of white paint： permanent “whitening” of the naked areas of the body is achieved through meticulous sanding， working the paint on the surface into the wooden material thus reinforcing the pure， virtually translucent character of the skin whilst simultaneously dehumanizing it.
This effect of a transcendental being is particularly clear in the work Hermaphrodite， which depicts a horizontal figure， lying stretched out on the floor. The eyes are closed， however the body language generates a feeling of extreme tension， so that rather than sleeping it is better interpreted as being in a virtual metaphysical state.The graceful physique， the slender limbs and the fine facial features are initially reminiscent of a female figure， looking again however the male sexual organ leaves no doubt that it is an androgynous being we are dealing with. Bruno Walpoth’s figures are solitary； they stand alone， located within a real space without context where they embody otherness， thus becoming the recipients of our suggestive projections existing somewhere between reality and fiction. His figures exist in dialogue with the viewer， examining an approach to social existence that is to be considered within the freedom of art and thus newly comprehensible.
The artistic oeuvre of the sculptor from Gr?den in South Tyrol doubtlessly arises from a tradition of working with wood that is closely connected with both the valley and its people， nevertheless Bruno Walpoth achieves new standards in a traditional art form through his sustained dialectical thinking process， which is conveyed by both the manual finishing of the material and the form itself. The balance， generated from a focused calm and a gentle tension， is the astounding secret of Bruno Walpoth’s tranquil figures. The sculptor’s protagonists are never obtrusive， they hint， they subtly suggest， do not demand and are modest， they gain their effect through silence and strength， beauty and sublimity， melancholy and desire， tradition and creation.
雕塑家不仅钟情于借助经典的椴树木头来解放其轮廓，而且还取材于坚果类木材和桦树，用凿子和锉刀进行加工，直到人体雕像的真实轮廓显现。从其作品中选取的与真人大小差不多的年轻男女屹立不动，好像在被艺术家赋予其生命的时候，他们的行动又被静止了。他们僵硬地站立在那里，冻结的姿态，面无表情；手臂伸出后或者在前，或者在侧边，却很少弯曲或者缠结在一起。在明确的线条中展现出布鲁诺·沃泊夫雕塑作品的全景，部分的躯干和无腿的半身雕塑展现出内向型的静止，并不受周围环境的影响。有时候他们的视线被转移，而有时候眼神是面向前方或是直视观众的。他们的眼神不会为了相互接触而游离，他们不是为了获得关注，而是跟他们的姿态保持一致。他们专心致志，也被内在地指导着。眼神呆滞，眼睑也有时候是合着的，他们的凝视在任何情况下都保持着可触摸的状态，在空间中产生着存在。
布鲁诺·沃泊夫使用模特来作为他的肖像来源，他从结构上复制和显示等大的人物。然而他并不关心自己的主题是否是可辨认的，而宁可是拟态和模仿的。传统肖像的可辨识性的特点，在他的雕塑复制品中得以降低。
把每一个新的人物通过木雕而赋予鲜活的灵魂对艺术家而言都是一个挑战和尝试，唯有展现逼真的人体形象才可达到这种目的。想象着雕像的精神层面，欣赏者会从内心有感而发。沃泊夫的人物不是对理想丢失的复活，而是通过展现他们所贮藏的公众形象，反映出观察者自己所贮存的印象。这些木雕人物通常是裸体的或者部分着衣的，因此在这些他所喜爱的雌雄同体的身体上，骨骼结构清晰可见。同时，这些人物中未着衣的部分都已经被打磨得非常光滑，呈现出一种皮肤的质感，那些着衣或者有毛发的地方比较粗糙，保留有凿痕或者被涂上柔和色泽的痕迹。光滑抛光的皮肤展示着白色笔绘的痕迹：身体上裸体部分永久的“美白”通过一丝不苟的打磨而得以实现。油漆的木质材料表面，强化了皮肤的纯净，几乎半透明的人物同时变得非人性化。木材本身发生了转变，更是在涂上白色时，失去了其所有的物质形态。因此，材料本身变得无关紧要，形体得到相当得突出。
这种效果的一个卓越的作品是《雌雄同体》，描绘了一个四肢伸展、水平躺在地板上的人物。眼睛闭着，但身体语言产生极度紧张的感觉。所以，这不是睡觉，而是可以更好地解释为是在一个虚拟的形而上学的状态中。曼妙的身形，修长的四肢和精致的五官，最初让人联想到女性形象，再看之下具有男性的性器官，毫无疑问，我们正在观察的一个雌雄同体的存在体。布鲁诺·沃泊夫的人物是孤独的，独立的，在没有背景的情况下，他们在现实空间内体现出差异性，从而成为介于现实与虚构之间的某种投影的接收者。他的人物存在于和观众的对话当中，审视一种通向社会存在的途径，把艺术自由放在考虑的范围之内去研究“社会存在是可以理解的”。
在南蒂罗尔地区，雕塑家的全部艺术作品无疑是来自于木工的传统工艺，这种工艺将山谷和在山谷中生活的群众紧密地融合在一起。然而，布鲁诺·沃泊夫通过其持续的辨证思维在传统的艺术形式基础上达到了新的境界，他通过对材料的精加工和作品本身来传递思想。由专注的平静和温和的张力产生的平衡是布鲁诺·沃泊夫宁静雕像的秘密之处。雕塑家的主角是永远不会突兀的，他们暗示着，他们巧妙地表明着，不强求但是很温和，通过沉默和力量、美感和崇高、忧郁和渴望、传统和创造，最终获取艺术效果。
The human form， the body， is he major subject around which Bruno Walpoth’s artistic oeuvre revolves.
The sculptor favours a piece of monumental lime wood from which to liberate his figures but also uses nut wood and birch and does so by reducing the material with chisel and file until only the realistic features of a human effigy remain. The life-size young women and men that have been extracted appear motionless. It appears as if in very the moment of being brought to life by the hand of the artist， their movements again become paralysed. Their haggard bodies stand there with frozen gestures and facial expressions； their arms stretched out either before them or sideways but only rarely bent or intertwined. In their decidedly tense poses Bruno Walpoth’s full-figure sculptures， along with his torso-less and legless busts， appear introverted static and unaffected by their surroundings. Sometimes their gaze is averted and other times it is straight ahead and directed towards the viewer. Their eyes do not wander in search of contact， they are not trying to catch the eye， rather – as is consistent with their pose – they are fixed in concentration and directed inwardly. The pupils are dull and the lids sometimes even closed， their gaze in any case remains tangible. They generate presence in space. Bruno Walpoth uses models as the source for his portraits， who he anatomically reproduces and presents as life-size figures. However he is not concerned with his subjects being identifiable but rather more with mimesis. The distinctive characteristic features of the personality that represent individuality in traditional portraiture， are played down in his sculptural reproductions.
Each new figure is a challenge， an attempt by the artist to breathe a living soul into carved wood. The true to life form of the body is the means to an end， the conveyor of the psyche， which the viewer has turned inside out whilst imagining the mental state of the figure. Walpoth’s figures are not a revival of lost ideals but rather trough the presence of the public they are repositories， reflecting the viewer’s own store of impressions. Frequently the wooden figures are naked or only partially clothed， so that the bone structure of the apparently androgynous bodies which he predominantly favours is made clearly visible.Whilst the unclothed parts of the figures have been sanded down smoothly and exhibit a skin-like texture， the clothed or hirsute areas are rougher， displaying traces of the chisel or of being painted with pastel-like pigment. The smoothly polished skin shows traces of white paint： permanent “whitening” of the naked areas of the body is achieved through meticulous sanding， working the paint on the surface into the wooden material thus reinforcing the pure， virtually translucent character of the skin whilst simultaneously dehumanizing it. The wood’s matter itself becomes transformed–even more so when coated in white–appearing dematerialized. The material itself therefore becomes irrelevant； it is rather the form that is highlighted.
The smoothly polished skin shows traces of white paint： permanent “whitening” of the naked areas of the body is achieved through meticulous sanding， working the paint on the surface into the wooden material thus reinforcing the pure， virtually translucent character of the skin whilst simultaneously dehumanizing it.
This effect of a transcendental being is particularly clear in the work Hermaphrodite， which depicts a horizontal figure， lying stretched out on the floor. The eyes are closed， however the body language generates a feeling of extreme tension， so that rather than sleeping it is better interpreted as being in a virtual metaphysical state.The graceful physique， the slender limbs and the fine facial features are initially reminiscent of a female figure， looking again however the male sexual organ leaves no doubt that it is an androgynous being we are dealing with. Bruno Walpoth’s figures are solitary； they stand alone， located within a real space without context where they embody otherness， thus becoming the recipients of our suggestive projections existing somewhere between reality and fiction. His figures exist in dialogue with the viewer， examining an approach to social existence that is to be considered within the freedom of art and thus newly comprehensible.
The artistic oeuvre of the sculptor from Gr?den in South Tyrol doubtlessly arises from a tradition of working with wood that is closely connected with both the valley and its people， nevertheless Bruno Walpoth achieves new standards in a traditional art form through his sustained dialectical thinking process， which is conveyed by both the manual finishing of the material and the form itself. The balance， generated from a focused calm and a gentle tension， is the astounding secret of Bruno Walpoth’s tranquil figures. The sculptor’s protagonists are never obtrusive， they hint， they subtly suggest， do not demand and are modest， they gain their effect through silence and strength， beauty and sublimity， melancholy and desire， tradition and creation.