Connection, blue #3 Sculpture

We all have our limitations. We live in a mortal (healthy?) human body, a random combination of our ancestors' genes. We happened to be born in a specific country at a particular time; our race, ethnicity, and cultural background also happened to us. We can also not control thinking; it happens to us as digestion does. Our reality is beyond our knowledge to a greater extent. We feel it. We are simple, imperfect, and impermanent, and we know it. We all look at life quite polarly; we select specific objects and significant phenomena from our surroundings. Sometimes, we do that intentionally or cannot do otherwise, but we still know that about ourselves. We all need to focus on what, like a crutch, helps us move to the moment here and now, closing our eyes to our life situation. As a result, the reality is distorted, simplified to two sentences, looks clumsy, somewhat rough, and very approximate. This selectivity of attention (I can also call it informed naivety), which inevitably distorts our complicated reality, sticking out and wildly exaggerating specific details, is my work's theme and idea. I create monochromatic wall sculptures. I complete works in large, rough strokes and incorporate massive, coarse sculptured elements, scattered and amorphous. I use rough texture to emphasize tenderness and make it even more tangible, to convey the idea that our roughness, wrinkles, irregularities, and cracks only emphasize our humanity, revealing our essence, delicacy, purity, and completeness, the fact that we are infinitely beautiful in our fragility and mortality. Every sculptured element in my works represents a person, and I incorporate many of them in my sculptures. I organize them on a canvas together in a dance; there is a logic in the composition because, in this life, we are in this together; we are connected. Our reality is beyond our knowledge, but we feel this connection.