The visual vocabulary of the sculptor Werner Pokorny is as catchy as it is complex. It revolves primarily around the house as a symbol of human existence, in extreme intensification even as a cipher for the 'I'. As an enclosure, the house finds its complement in symbolic vessels such as bowls or vases. Originally sawn from blocks of wood and sometimes fire-blackened, which underscored the archaic context of the original hut, the material semantics expanded from the mid-1980s to include steel and finally bronze, which on the one hand allowed for greater lightness, but on the other hand also a partly playful, partly retrospective visual language. The house stands for protection, shelter, preservation, but can also point to the opposite of confinement and restriction. In the formal confrontation Pokorny, professor emeritus of sculpture, cancels out the static and stability of the house and thus - on the interpretive side - makes the self the fatefully delivered subject, at the same time the play module of an experimental arrangement.