Jürgen Brodwolf's sculptural principle of the so-called "tube figure," developed since the late 1950s, is located beyond traditional material and form. Jürgen Brodwolf, who initially worked as an informal painter and restorer, devoted himself mainly to the plastic design language from the end of the 1950s and is one of the most important representatives of figurative art. His independently formed sculptural principle develops beyond traditional material and form inventions. By applying this sculptural principle in the most imaginative variations, modulations and combinations, he succeeds in formulating his central concern in a multi-layered way. Brodwolf had already found his binding sculptural figure type in 1959, which took its starting point in the "Tubenfigur" (tube figure) and from then on ran through his entire oeuvre. All of his works are imbued with the core artistic idea of constant change and constant transformation. The recurring use of torso-like figures, based on a formerly inspirational input during the creative handling of squeezed tubes of paint, demonstrates Brodwolf's highly empathetic approach, as he recognized in their formations a certain degree of abstraction of the human body. The cosmos of unlimited form-creative possibilities opened up by this novel approach soon led to further cycles of works.

In the course of the 1960s, he first discovered new materials and enriched his "tube figures" with collected found objects, which he often embedded in stage-like contexts or developed into communicating figure scenes. At the same time, he executed his sculptural formations in increasing dimensions through the use of the relatively soft metals pewter and thinly rolled lead sheet. Brodwolf's unbroken love of experimentation throughout his life encouraged him to form his figures with paper and papier-mâché as well, before he began to use textile fabric, which was still little used in sculpture at the time, in favor of an increase in material expression at the beginning of the 1970s. Initially, he uses old canvases to cut out his figures using the silhouette method, which he then arranges on sometimes unconventional picture supports. The resulting relief paintings express the fragile character of these linen silhouettes. The need for protection of all living things is articulated in a memorable way through the material, in the sense of an envelope that provides security. By beginning to make his figures from cardboard templates, then wrapping them in gauze and molding them while they are still softened, he continually approaches fully sculptural solutions. The flowing structures and haptic radiance, as well as the tactile presence of his wrapped figures, have become individual recognizable features of Brodwolf's sculptural formal language.