Painting on Opel Olympia Record (1953), biodegradable paint with a certificate of ecological harmlessness
“A contour, a line, a silhouette, or an outline as the basic attributes determining the morphology and handwriting of any spatial creation. Through morphology we also distinguish the material reality around us and by moving the reality’s edges into a black and white frame – in a photograph, for example – it is proven that our senses do not need colour to gain basic knowledge of reality and to orient themselves in it. Colour is secondary. Therefore, if we can reduce our perception of reality to these rudimentary sensations without losing our sense of direction, we can think the same way about sculpture as well.” A sculpture created by painting while using the line as the default sculpting tool. A series of objects whose every constituting shape has been contoured. The whole morphology of the object is pulled outside of it and the object itself is then pulled outside of its surrounding reality. By doing so, that which is objectively known is transformed into something unknown or seen for the first time. In the case of using black areal underpainting and the highlighting of all morphological edges of the object, an illusory transformation of the original object into a new one takes place. This new object could become the new rudimentary sensation that could lead us into perceiving it as a sculpture or a sculpting object. The concept of sculpture is thus reaching the edge of the present perception liberated from the complicated and clumsy traditional ways, which put an emphasis on the material and its permanence. Permanence is relative – it has no clear categorization. Everything is transient and the phenomenon of transience itself is, paradoxically, the only stable value that is never transient, and that strongly influences everything we do in the various phases of our lives. Even our struggle for permanence.