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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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