Sculpture HARP Outdoor Sculpture

In a small sunny town, I – also small – run to the next porch, my grandmother lives there, just four windows to the left. Up there is a wall of gray squares that has no end and to the right there are children running around, I’m scared of them and want to hide. I stumble, pain pierces my heel, and I cry at first, and then I notice that I am crying, and that I am sitting looking at my heel. It’s like I saw it for the first time: there is a dent and drops of blood, and pink folds curl into moving lines, and it’s sad and interesting, that I get so sad from such simple dents on a smooth surface. It’s already close – someone will console me, and the questions will dissolve again, and then they will appear someday, when, 20 years later, I look again at myself and at my heel – we are still the same, and not the same: just pliant. The answers to all the questions are images of warmth and stability, grandmother's porcelain service and naked emotions. Finding answers is like trying to find an old childhood friend there, where you have never been, in a shapeless piece of clay. In the hope that there is someone inside. And each experiment is a new attempt at friendship: communication with myself and with someone equally changeable and constant. With his past and his bare heel, with his pain. But in the end, what remains is something between a cast of myself, the process of soldering all these pliant materials, and an independent body conducting its own conversation. *** For me, art practice is an exploration of the connection between the internal and the external. This process can be seen as a deconstruction of the familiar boundaries between subjective experience and the material world. I begin with my own experience but extend this analysis to material and physical objects. Emotional reactions gradually form a system, with each element connecting into a unified structure. Visual images from memories create the foundation of this structure. In this way, the external and internal worlds begin their dialogue: memories take on material form, abstract expressive elements are embodied in matter – all of these are like words stretched out over time, telling a story of personal experience.