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Bēhance

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fundamentally, i am a sculptor. i do drawings, sculptures and installations. at the moment, i make two types of works: ones refer to biomorphic abstraction, others refer to archetype problematic and question basic forms and our referring to them.

in drawings, i do not insist on predefined work, but rather on bei… Read More
fundamentally, i am a sculptor. i do drawings, sculptures and installations. at the moment, i make two types of works: ones refer to biomorphic abstraction, others refer to archetype problematic and question basic forms and our referring to them.

in drawings, i do not insist on predefined work, but rather on being in conversation with it while it is happening. like walking in the streets without a predestined path. i try to be a spectator, explain it to myself upon the completion or i let other people do so.

from drawings i transfer to sculpture, embodiment, but i am trying to make them as spontaneous as they can be. i want other people to embrace them as entities, coexistent, as a part of themselves, as a part of a common picture we all stand in, as an evidence of now and here.

wall drawings are in most of the cases connected to architecture in which they appear and disappear. they occupy a room or more rooms and i believe they need a lot of space for their presence to become definite and overwhelming and to create significant physical influence on the spectator. this is how i make sculptures that are just outlined, but actually, spectator is entering a sculpture by entering a room. it is about crossing a line between sculpture as a 3d form and sculpture which is actually a drawing. the scale of the work is always in relation to human, or to space. wall drawings are there to change the impression of the space, and sculptures more directly involve spectator. they are usually comparable to human height, palm, or else.

both drawings and wall paintings i make in the same manner. they are built out of little straight lines, gestures that represent time, beats, steps or breathing. and this is how they spontaneously grow until the form is present. most of my executed work does not exist anymore and there i lie down the tendency to create a piece, let it live, be reborn later in some other form or material, and to nourish the circle of life. in most of the cases i use natural materials because i see them as pure matter, therefore, more true and sincere.

when i introduce color, it is usually monochromatic, because for me the color is representation of a feeling and when i decide to have it present, it is strong and raw.

i let the work be embraced by the viewer, to be taken personally. anyone can identify him/herself with it and find a meaning on his/her own. or not.

i believe the artists that influenced me the most were musicians, since i regard music as omnipotent and, no matter where you are, you can always hear it without pointing your ear to it. it drags you in, calling to come closer. in the works of favorite sculptors, i try to “hear” the work, rather than to see and understand. and the energy that i feel when creating a work is more similar to the process of listening, letting be captured by.

i am interested in what is present in the core of a work and how it finds its way out, what is it made of. essence should be simple, but very strong and pure. in this sense, i believe that what surrounds the cord is usually what describes it best. therefore, there is always a battle between the form that is material and present and the form which is captured by, is evident, but not palpable or visible.

i tend to make works that put the whole space into the move, grab physically. i want to put the viewer in a state that is engaging. he/she is becoming a part of the work, or vice versa. Read Less
Member Since: Jan 3, 2012