Born 1956 in Düsseldorf, he moves to Aachen to study Physics. Return to Düsseldorf in 1980 to study at the State Art Academy under Prof. R. Crummenauer and Prof. E.Heerich (1985 Master Student of Prof. Crummenauer).
The kernel sentence in physics "Forces are evident in their actions and questions concerning borderline material creations are relevant to his artistic work. Drawing develops into a mode of definition. Ink drawings turn into dematerialized wire objects.
Westerfrölkes works function. They are in part driven by simple mechanics, cranks and thrust mechanisms, waterwheels or windmills. He uses mechanically functioning structures incorporated in filigreed, geometrical metal frames to activate space and to give rhythm to the viewers observations. This fascination with mechanics, his attention to detail and perfect craftsmanship underline these intentions.
The presence of his fragile constructions make the surrounding space and spaces in between seem almost palpable, both aspects are used as concurrent elements in the design. In finding his images, he savours the "spaces in between, the "stolen time, the "unproductive moments of daily life, the time when images appear, scribbling while on the phone, not thinking of anything times on the toilet, mind travels while driving, playing music, day dreaming, etc.
Westerfrölkes works are Rhythmogrammes, are built sound structures, where the viewer has the possibility to participate, to make the optical offering a part of his own "music.
The employed graphic instruments offer the eye of the beholder everchanging new possibilities of visual associations. It moves along lines, curves change the speed of sight until a break at a corner occurs, to carry on in staccato fashion, skipping over spaces, to be guided by a quieter structure or to dwell there. By limiting the forms to purely geometric shapesabstract terms, such as dot, line, surface, circle, square, oval or rectanglestructures are perceived which the viewer associates with human, animal or vegetable-life or sounds.
Two travel scholarships take him to Sri Lanka and Nepal. Further travels to India bring him into contact with modal, classical, indian music and during 1988-91 he takes lessons from Elmar Fonferek / Bonn and Dr. Gopal Mishra /Benares India. This is followed by additional trips to study in Benares.
Westerfrölke derives inspiration out the concentration which goes into making music and is fascinated by the cyclical handling of simple musical "building blocks through variation and improvisation.
While the fragile wire objects were conceived for interior spaces, after 1987, he increasingly works in conjunction with planners and engineers to create works for public spaces. The objects have grown in size. The viewer can now walk through them, yet they have retained their concentration. Only the viewers consciousness of space and time