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…auch die Verletztlichkeit des Steins ist immer wieder ein Thema. Die Fragilität des Steins oder die Brüchigkeit der Kanten (…) Im jüngsten Werkzyklus hat Roland Hotz Strukturen auf den Stein übertragen, wie sie in der Natur anzutreffen sind. So etwa hat er die Struktur des Schilfs oder die von Wind und Wasser geformten Bewegungen am Sandstrand oder in Sanddünen als Rillen auf den Stein übertragen…

Kathrine Frauenfelder
Rede Ausstellung Zimmermannhaus Brugg 2007



1988 Completed further training courses at the Swiss Institute for Vocational Education [SIBP]
Until the mid-80s also worked as a restorer. (Fraumünster and Grossmünster in Zurich, among other locations)
1961 bis 1969

Completed training at the Zurich School of Applied Arts with foundation course, and in the Willy Stadler’s studio, sculptor and restorer, in Zurich. Assistant positions with Otto Müller, Luis Conne, Alfred Huber and Richard Brun among others.

Private studio since 1968 in Zurich

1995 - 2005 Lecturer Zürich University of the Arts [ZHdK]
1988 - 1995 in charge of art class/pilot class, in a team with Larry Peters: “Form Colour Space” School of Design of St. Gallen
Since 1984 lecturer at various design schools in Switzerland
Free Art
2001 European Sculptors‘ Symposium, Horticultural Show at Cham near Regensburg Germany, for instance
1995 government buildings canton of Zurich, work presentation
1986 Kunsthalle Winterthur, solo exhibition
1982 Kunsthaus Zürich Foyer, solo exhibition

Le Havre, “réalisme, réflexion- explosion” group Produga

Small Sculpture Exhibition Budapest

1978 Venice Biennale, Swiss representative
1976 Venice Biennial, group Prodega
Gallery Representation
Currently Gallery Willi E. Christen, Zurich
1988 to 2010 Gallery Esther Hufschmid
1975 to 1987 Gallery Bob Gysin
1980 to 1984 Gimpel-Hanover and André Emmerich Galleries


About my work

Stone is one of the most original manifestations of solid matter found on our planet.
Burnt energy, fossil deposits, solidified over long periods of time, weathered, hardened again, compressed, often crystallized, rammed, melted, and solidified.
Broken up by Homo Sapiens, used as a tool, from very early times until a few hundred years ago used as a method of communication, employed as a building material for homes right up to the present day, stone is also a witness of past cultures. So when I have this stone before me, for example, an olivine diabase from Hessen, a subvolcanic rock, which has slowly cooled, then been repeatedly broken up by the powerful forces of continental drift and pressed together again, I am face to face with an ancient piece of history.
A piece of history in which life emerged, a history of development from which I myself emerged, must have emerged. So I originate from this matter, through a long evolutionary process, and will again return to it. So here my dialogue begins, stone becomes a very familiar and very special medium for me. I myself am now for a brief moment part of its history, scratching, scraping, hammering myself into the stone, partly smoothing it, giving the stone a skin. Injuring continuously, but it will heal again. The saga of the stone and my story rub against each other. If I’m to be perfectly honest, I have to admit that now that I’m past sixty, what interests me in sculpting stone is neither geometricizing forms or the play of form, the objective representation of the people, of animals, whether like Neolithic sculptors or cubist ones, not even spatial installation, or the discovery of spatial concepts.
Of course I make every effort, in relation to exhibitions, not to just set my stones down stupidly in a space, an environment. But ultimately what truly captivates me is the rock itself, the work on the object, onto the stone.
The stone bears the traces of its and my fundamentally inexplicable existence. Intuitively I change these pieces of rock, found or torn from a quarry, with a pick-axe or dynamite, giving them, in the course of a protracted process an individual appearance, stamped with my personal experience as a contemporary of the 21st century.
I often change the equilibrium of the stone.
My sculptures are not intended to be impenetrable monuments with an eternal right.
Today we know that nothing is definite or secure.
So there are no claims to the ultimate truth.
Cultivating the stone, experimenting, transforming, looking for the most meaningful possible appearance, the constant change and prolonged work with and on the same stone, usually over many years is an indispensable process, a “work in progress”.
And then, on occasion the finest appears: a unique, new, completely original and contemporary work. An approach to my own personal inner ideas of “beauty” and “clarity” and dreams of timeless “duration”. And of course it is so: the sculpture is complete once the work has been sold.  At this point I have to let go of the stone and look for another. The dialogue begins anew.