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The heads, which give the impression of being larger statues’ fragments, are close to the natural human size. When observing the heads through water and grates the observer is invited to search for meaning. Despite the wide-open mouths and tightly closed eyes, the figures provide us with a sense of unusual tranquillity, reminding us of physical ecstasy, religious rapture, or pre-mortal speechlessness. At first glance one can realise that their expressions have sexual connotations and realisms despite their scarcely idealised forms, but then the viewer gradually ascertains the more realistic and brutal aspects of the possible fates of the depicted women (subordinated, reduced to a sexual object, silenced, deceased). Harmony and beauty seem to be sacrificed for the realism of expression, which is at the same time veiled with a certain existential unknown, with a veil of the unfathomable and inexpressible. The form is here also seen as a reflection of practising body discipline. The history of body image can also be read as the history of attempts to show the body as an aesthetic form, at the same time making visible consequences of a more or less violent disciplining the body. Although the natures of the clays the sculptures are made from does not allow changing from formal to the real perception of the body, it becomes visible as to what is traditionally subject to exclusion from public discourse, especially when it is about sexuality. Unlike aesthetics, that does not lead to the directly perceived reality to the horizon of feelings and thoughts, the achievement of mimetic effect makes us acquainted to some extent with systematic mitigation and reduction of reality with foreign experience, thus creating the perception that would otherwise have been unsustainable.
The heads, which give the impression of being larger statues’ fragments, are close to the natural human size. When observing the heads through water and grates the observer is invited to search for meaning. Despite the wide-open mouths and tightly closed eyes, the figures provide us with a sense of unusual tranquillity, reminding us of physical ecstasy, religious rapture, or pre-mortal speechlessness. At first glance one can realise that their expressions have sexual connotations and realisms despite their scarcely idealised forms, but then the viewer gradually ascertains the more realistic and brutal aspects of the possible fates of the depicted women (subordinated, reduced to a sexual object, silenced, deceased). Harmony and beauty seem to be sacrificed for the realism of expression, which is at the same time veiled with a certain existential unknown, with a veil of the unfathomable and inexpressible. The form is here also seen as a reflection of practising body discipline. The history of body image can also be read as the history of attempts to show the body as an aesthetic form, at the same time making visible consequences of a more or less violent disciplining the body. Although the natures of the clays the sculptures are made from does not allow changing from formal to the real perception of the body, it becomes visible as to what is traditionally subject to exclusion from public discourse, especially when it is about sexuality. Unlike aesthetics, that does not lead to the directly perceived reality to the horizon of feelings and thoughts, the achievement of mimetic effect makes us acquainted to some extent with systematic mitigation and reduction of reality with foreign experience, thus creating the perception that would otherwise have been unsustainable.
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Who hold the water here I., 2012 Sculpture

Joze Subic

Slovenia

Sculpture, Ceramic on Ceramic

Size: 17.3 W x 17.3 H x 8.7 D in

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Originally listed for $6,800
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About The Artwork

The heads, which give the impression of being larger statues’ fragments, are close to the natural human size. When observing the heads through water and grates the observer is invited to search for meaning. Despite the wide-open mouths and tightly closed eyes, the figures provide us with a sense of unusual tranquillity, reminding us of physical ecstasy, religious rapture, or pre-mortal speechlessness. At first glance one can realise that their expressions have sexual connotations and realisms despite their scarcely idealised forms, but then the viewer gradually ascertains the more realistic and brutal aspects of the possible fates of the depicted women (subordinated, reduced to a sexual object, silenced, deceased). Harmony and beauty seem to be sacrificed for the realism of expression, which is at the same time veiled with a certain existential unknown, with a veil of the unfathomable and inexpressible. The form is here also seen as a reflection of practising body discipline. The history of body image can also be read as the history of attempts to show the body as an aesthetic form, at the same time making visible consequences of a more or less violent disciplining the body. Although the natures of the clays the sculptures are made from does not allow changing from formal to the real perception of the body, it becomes visible as to what is traditionally subject to exclusion from public discourse, especially when it is about sexuality. Unlike aesthetics, that does not lead to the directly perceived reality to the horizon of feelings and thoughts, the achievement of mimetic effect makes us acquainted to some extent with systematic mitigation and reduction of reality with foreign experience, thus creating the perception that would otherwise have been unsustainable.

Details & Dimensions

Sculpture:Ceramic on Ceramic

Original:One-of-a-kind Artwork

Size:17.3 W x 17.3 H x 8.7 D in

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1958, MariborMy artistic engagement has since 2000 recurrently stretched out from the pictorial field, which, following his early figurative art, was more and more characterized by sensual colours and unusual materials, into actual space and objective reality. Spatial installations embrace objects from everyday life, organic materials, which are then transfigured into meaning-charged objects that broadly address the spectator by way of their associative power. The expressive nature of the matter is put forward through the active and concrete exploration of new substances of heterogeneous origins that are atypical to traditional fine art. These substances, even before being included in the artistic process, carry within themselves a rich psychological, existential and cultural content: they are rough metaphors of their earthly existence, carriers of memories of past experiences now transposed into the space of depiction where they undergo a process of transformation, acquiring, through emotional reading, a new meaning conferred upon them by the artists sensibility. Wood, copper, plastic, leather, skillfully worked and fused into new poetical wholes, are displayed throughout the space. As a solemn expression of experiences co-created by individual elements, they outstretch the limits of the given spatial framework. A composed, palimpsestic visual image/scene becomes a ritual stage where a cyclic offering of life and tasting are performed through the intermediary of uncommon objects-stations that feed subjectivity, acquainting it with its own reality

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