About language in sculpture.
The language of the sculpture. The plastic language. Language as a way of communication and means of action. Language as a boundary, and at the same time way to go beyond the boundary of the particularly-known, and to enter the territory of the abstract-associative. To the stand-alone existing. In visual arts, image-vision is a measure of impact. In plastic arts, such a measure is the plastic image. And it is attainable through the language and means of sculpture.
About the image and the original.
And how the artistic image is never identical with its prototype. That is why it has the qualities of one. Of an original. Independent, integral and complete. Self-sufficient. Influential through that nerve and the impulse of revelation, inherent in the power, brought about by the inner necessity.
For lack of thematic.
Like in the tercets of Haiku poetry. About the ability to grab consciousness and lead it to conditions of already experienced or painful known things. For the power of the means of expression in their pure form – such as sound in poetry and tone in music. And the coexistence of these means of expression in a qualitative way – what makes the individual elements to live organically in one whole and this whole being poetry or music. Or a sculpture …
About the plastic language as a problem in the arts.
About the danger of self-determination and lack of profound internal motivation. And, on the other hand, strive for the means to be mastered, subordinate and put in the service of the true purpose of arts – the elevation of the human spirit.
About the spiritual in arts.
Plastic language as a way of building different states and sensations bearing the charge of truth and revelation. Creating certain formal and spatial situations that, through the powerful force of physical space, attack the spiritual space.
About the belief.
The belief that after learning the basics of the language, you will have something to say through it.
About the plastic language in art.