Travel and tranquility, 2000
Completed on | 2001 |
Dimensions | 236 x 138 x 48 cm |
Category | Installation, Sculpture |
For example, there are the Wooden Sculptures (2002-3). Through these dynamic forms, the artist questions the rationality of the form through a Taoist principle that prevails almost in all of his works after 1998 as a decisive liberation from conventional opinions in an attempt to achieve harmony with nature.[Anton Kjels, Taoizam, trans. Ivana Đorđević (Gorni Milanovac: Dečje Novine, 1988), 26.]
In these sculpted works, the scope of free expression is noticed as a necessary state of the being which is presented in a form of a new life existence. The conceptual dimension of these works is expressed in their titles: Uprooted and Decomposed (1999); Without skin and shadow (2000); Chick and Thunder (2000); Initial (2001); A Drop of Truth (2001); Journey and Peace (2001), as a process of a closure in the poetic whose energy is released through the nature of the material. The pure poetics emanating from these preforms speaks of the creative suspension as a deliberate return to the primordial and the meditation in the process of creation as an autotelic phase, or a restructured discourse in which everything is interdependent and read from within, but not because of the meaning it acquires as a result of something else.[Tzvetan Todorov, Poetic Language: The Russian Formalists (New York: Routledge, 1988), 14.]
The return to nature is reflected in these sculptures as a twisted inward movement of matter despite the teleological detachment of the material from its original context. The addition to this conceptual idea is appropriately specified in the drawings titled Flower to flower (2000) made in a period of deep sensory closure into the self-presence or the survival of ranges of flowers per se.
Immanuel Kant said that: “Nature moves on the shortest path (lex parsimoniae); it also does not make a leap neither in the sequence of its changes nor in the composition of the specifically different forms (lex continui in natura); its great diversity … is a unity led by a few principles (principia praeter necessitate non sunt multiplicanda)… “[Immanuel Kant, Critique of Practical Reason, trans. Viktor D. Sonnenfeld (Zagreb: Kultura, 1957), 22.] which in the context of the shaping gesture would suggest the ordering of the artisanal according to the laws of the organic energy of matter.
Although completely aesthetically autonomous, these works are not completely isolated from the linearity of Maznevski’s articulatory gesture.