German artist Garvin Dickhof has launched an innovative art project that involves covering public sculptures with thousands of building blocks, creating a unique visual transformation that makes familiar artworks disappear while simultaneously making them newly visible. The ambitious installation is taking place in both Bocholt, Germany, and the neighboring Dutch town of Dinxperlo.

The centerpiece of Dickhof's project focuses on Bocholt's well-known "Eierfrau" (Egg Woman) sculpture, along with accompanying animal figures. The artist estimates that approximately 5,000 building blocks will be required to completely cover the Egg Woman sculpture and its surrounding animal figures, effectively making them vanish from their familiar appearance while creating an entirely new artistic statement.

Dickhof's concept centers on the paradoxical idea of making sculptures disappear in order to make them newly visible. By wrapping these established public artworks in colorful building blocks, the artist challenges viewers to reconsider their relationship with familiar public art installations. The building blocks serve as both a covering mechanism and a creative medium, transforming the original sculptures into pixelated, block-like interpretations of their former selves.

The project represents a contemporary approach to public art intervention, where existing sculptures become the foundation for new artistic expression. Rather than creating entirely new works, Dickhof's method involves reimagining and recontextualizing established pieces, encouraging the public to view familiar landmarks through a fresh artistic lens.

The cross-border nature of the installation, spanning both German and Dutch locations, adds an international dimension to the project. This geographic expansion demonstrates the universal appeal of Dickhof's artistic vision and his ability to engage communities on both sides of the border with his creative block-covering technique.

The project has generated significant local interest, as residents and visitors witness the gradual transformation of beloved public sculptures. The building blocks create a playful, almost toy-like appearance that contrasts sharply with the original artistic intent of the covered sculptures, creating a dialogue between different artistic periods and styles.

Dickhof's work raises questions about the permanence of public art and the ways in which contemporary artists can engage with existing cultural landmarks. The temporary nature of the building block covering suggests that the original sculptures will eventually be revealed again, but not before viewers have had the opportunity to experience them in this transformed state.