For all the abstraction in her large-scale sculptures, Birgit Rehfeldt is committed to figuration. Her mostly female figures are characterized by their titles and typified movements. For example, she positioned two swimmers at a pond near the museum trail in Waldenbuch: a "breaststroke swimmer" and a "crawl swimmer." Their orange-red and blue colors, respectively, radiate a certain sensuality, the pleasant pleasure of bathing. Yet, just by looking at the protagonists, one suspects that this is about more than just pure fun. The elegance of gliding through the water is lacking in their construction. Not only are they mounted above the water, which dooms their zeal, however motivated, to failure—the installation is also due to the local conditions—but it is characteristic of Rehfeldt's work that her alabaster and wooden sculptures are derived from a cubist-geometric formal vocabulary, which appears rather angular in the three-dimensional representation. It's all the more astonishing, then, how she uses reduced body language to bring the dry-water swimmers into a flowing, almost leaping movement. Nevertheless, her view of humanity must be further explored in existential terms. In the interplay of mass and proportion, the artist achieves tensions that transform external movements into inner life experiences. The swimmers are swimming for their lives: they are trying to master it in everyday life.