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For several years, I have been busy exploring and delving into natural and organic forms and their formal sequences– shown on slides 1, 2, and 3 (average size approximately: 20 x 8 x 30 centimetres).
Gradually tectonic and architectural components flowed into the work – slide 4 (size approximately: 35 x 18 x 20 centimetres).
Architecture relates on aesthetic and functional externals and interior. Plastic art and sculpture entirely seem to possess over aesthetic externals. But one should consider that each spatial form aspires from inside to outside.
This interior – or supposed “negative” space – was of a special concern to me, therefore, I wanted to define it more closely. I continued, as an intermediate phase, to pour out hollow bodies (e.g. little boxes, chest, etc.) from plaster with the purpose of letting this “negative” space appear as positive – slide 5 (size approximately: 45 x 40 x 40 centimetres).
On this slide we see the hollow bodies’ primal outer form; cultivated shaping only befallen to the interior space. The same procedure was deployed on the work on slide 6 (size approximately: 40 x 15 x 12 centimetres): the actual, original negative space is located here inside the distended spiral revolved inner surface. The outer shape was worked, received editing and processing.
Statics are imminent to sculpture, spatial objects and architecture. They cannot renounce it. Because of that fact, it became a matter of concern to deal with the item of “motion”, which one could consider as a complementing contradiction to statics. Within plastic art and sculpture, “motion” becomes perceptible by concentrating on curved and bended surfaces and on skilfully- arranged apportionments of tectonic elements, which generate a feeling of movement and dynamics.
Drawings contain motion also. To draw means to reflect, create and get into the spirit of something, or to give an idea or intentions a trial, independence and self-valence of the singular sheet. The act of drawing is subject to the executing hand’s natural verve.
One should bear in mind the meaning of graphics’ instruments or writing tools– such as pens, pencils, spring pins or goose-quills, because they participate in and adjudicate the sheet’s character and expression. Furthermore, considering the Latin word “scribere”, which means to scribe or to scarify, one can easily imagine that writing or drawing was once almost a sculptural activity before paper or linen were invented.
The drawings strictly accompany the newest plaster artwork and objects as an additive effect to the whole work and they are inseparably connected to them – slides 8, 9, 10, and 11 (size: DIN A1).
The manner of the early pieces was originally associated with scripture or handwritings and their traditional semantic meaning. They grew quickly during their process of development and became autonomous and self-contained. They no longer deal with specific or acknowledged “writing” and are not subjected to a certain system of their own. If so, the drawings have their genesis in the drawer’s spontaneous activeness.
Because of the above-described reasons, it was important to me to emphasize the given intentions that surround the term of (drawing/writing-) “Instrument”. A thinking process ensued which brought up the question of how consciousness, intuition, eye, arm, hand, pen or stylus and, finally, the medium (paper), create form by synthesizing all named items.
The latest objects – slides 7 (size approximately: 162 x 36 x 24 centimetres), 12 (size approximately: 195 x 36 x 20 centimetres), 13 (size approximately: 191 x 54 x 36 centimetres), 1 4 (size approximately: 231 x 34 x 17 centimetres), and 15 (Detail of 14) – expose a small number of the current results of the former basic approach and idea, which was once assigned the term “writing tool” or “Instrument”. Slide 7 shows the first of these latest objects.
The affinity and relationship to the elder works’ primal basic form – compare slides 1, 2, and 3 – is easily recognizable by noting the top-parts of the later objects. The middle and lower parts of these clearly show architectural structure and content – compare slides 4, 5, 6 and 15, which shows a detail of slide 14.
Consequently, the latest items of this working cycle fuse all previous developmental stages, such as organic form, the complexity of positive/negative form, tectonic /architecture and even structure, to denominate just a few.
I hope to have clearly articulated and explained the work’s complex contents from its inception to its final development, including all related topics and relationships that I encountered during my work.
This document’s sparse selection only shows a small detail of this working cycle, with which I have been busy for years.

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