Getting here, going somewhere
part 1.
It has taken me a long time to get here and looking from a distance, observing this work, greyish against the white wall, still wet but firm, I feel a rush of emotions, I am excited, I cannot wait to share this with Volker, I know he will understand. The past two and a half years feel today like an exercise, a sharpening of a tool, some kind of rehearsals or preparations for what is to come.
I have been building limbs-like-forms, or forms like limbs for whenever coiling around a singular cavity felt a bit repetitive. It always opened up new directions that sometimes became accents for vessels or more recently evolved into a complete new species of its own. However today, I find myself watching a form, that has been in the making, through my sketches, in my works, and sometimes I think inspired by Oskar Schlemmer’s costumes for Das triadische Ballett, but matured into a strong sense of its own and I am very pleased.
recent sketches
in my studio
Schlemmer’s sketches
Das triadisches Ballett, 1920’s
I want to share a small timeline of the previous works that I have build, all of which have contributed in a way for me to get to this place. Maybe can you see it too, it all seems so natural in retrospect, like evolution :)
part 2.
I was listening to an interview with Jan Gehl, a prominent Danish architect and he said something on how architects build forms keeping in mind the interaction that it will catalyse and went on to further remark that “a form without interaction is sculpture”. At first I frowned because to me it sounded as thought sculpture was just dead weight, but then part agreed because in most cases it’s not a direct interaction, like one would have with a balcony or a more private space. However, we are constantly interacting with objects that surround us and art objects most definitely have an affect on us.
Anyway, that comment stayed with me and sort of made me change the way I was building the sculpture and instead of continuing into a full upper torso, I thought of dividing it up into sections and add this playful interaction. And so, like stones placed on top of each other, something we see in multiple cultures, from creating shrines to tombs to using as direction markings (cairns), meditative practice or just simple games, I thought it would be nice for someone other than me to also build the sculpture. It feels poetic and somehow also logical, is a work that requires focus yet allows for certain playfulness.
15.04.2023