An aura of the inimitable permeates throughout the works of Helga Natz. They are at once fragile and permanent, as though the slightest alteration would transform what previously was as constant as air and earth.

Through a combination of materials of differing density, including wax, ink, lead, copper, sand, grass, milk and glass, among many others, Natz' minimal, harmonious relationships are autonomous and secretive, engaging and distinctive. Wherever they are placed, it is as if they belonged right where they are.

The noted German art historian, Manfred Schneckenburger, wrote: "The quiet, sensual magnetism of Helga Natz's sculptures is actually based on their totality of material, colour and form. They update the old theme of shell and kernel, and transform it anew by having the kernel form and consolidate itself from out of and within the shell.

What distinguishes these constructs is their absolute self-evidence, even though they hardly correspond to a familiar form. It was Kandinsky who gave the term 'inner necessity' its emphatic note. Even without Kandinsky's implications, Natz's best sculptures have something of that necessity. Each sculpture finds itself in the course of its genesis, seeking and finding a balance between working process and definition, material execution and artefact, experiment and achievement."