2002 – 2003
The sculptures produced at that time are result of my quest for an synthesis and balance between several aspects of shaping through hundred of years the character of the definition of sculpture.
The Still Position, wood, h 27 cm, 2002
The final shape of this work is determined by the series of formal assumptions:
Body is the starting point, the theme. The shape of individual forms is the result of functions they perform in the whole system and of physical forces that operate on body shaping its particular elements.
Although this sculpture is inspired by the logic of motion and the human body build – hips and leg (volleyball seat), it remains an abstract structure and avoid realistic imitation of nature. It should make impression of “bodiness” rather through associations (here even the colour of the chosen wood was important).
The combination of the two values difficult to be shown simultaneously: the internal logic of the construction and the external expression of the body. Hence there appear forms fluently connected toegether with soft, linear patterns being confronted with sharply, geometrically formulated forms representing harder internal structures.
The whole is a sequence of strongly contrasted single forms fluently combined toegether. This unification is not due to a meaninig, theme or title but due to a formal harmonisation of the parts on the level of the smallest connections and the points of joints. Basing on the same assumptions, even the invisible but perceptible planes and elements are dealt with here.
This sculpture constitutes the actual structure and is not only its superficial desctiption – a tale of a structure.
The shaping of form takes place both by substraction and addition of a material (constructing) as well as by using a natural model and irregularities of wood in order to emphasise the material and flexibility of the elements.
The moethod of work with the material and the final shape result from the dialogue between the idea (the body, the analysis of the system of forces) and the possibilities that the material has. It is important to understand the character of the material and to use its properties. If this dialogue is to be succesful, the sculpture should lose its character or even its meaning when attempted to be imitated accurately in a different material.
J. J., description written in 2003