From ‘expanded field’ to ‘exploded field’ from ‘monumental’ to ‘momentary’. Both approaches try to redefine ‘sculpture’ a term that seems a bit old-fashioned, even a bit obscure.
Regardless of the theoretical approach, the meaning of sculpture seems to be the representation of volume and weight with a drawing determined structure. A structure compelling an encounter between material and thought. The usual art materials – stone, wood, metal – are replaced by more ephemeral materials – plastic, glass, paper, – or materials produced by machines – textile textures, wires. Established practices like chiseling and modeling are left behind to make way for a constructed or assembled form.
The transient quality of the materials and the subversiveness of the deconstruction lead to installations, design and architecture. Sculpture as an installation has an immediate, dramatic impact. The pedestal is either completely integrated, absorbed or abandoned. Photography, collage, film, light are no longer just echoes of post-production.
It conveys the ephemeral and the fragility of life, but also the truth.
Our life and the planet’s life are fragile, uncertain.
Sculpture uses the flexibility of pop-baroque aesthetic as a metaphorical garden of society, as a domestic experience. Sculpture becomes part of our daily lives, getting to our house, our balcony. We reinvest in object saving the everydayness, the ecology, the nature, the world.