We are used to experiencing sculpture as a cubic capacity, revealing itself gradually. It holds a mystery, exposing itself slowly for those who view it from different positions.
The relentless and open discourse between the piece and spectator was conceptualised by the author with symbolic see-through volumes in rectangular and tear-like shapes, thus creating versatile and reserved atmosphere.
The work does not have a singular meaning or straight idea in the same way it is lacking in the space people are habituating. The atmosphere and the outside world change depending on the mood, condition and personal aspirations.
The composition is dominated by human figures, but conceptual underlining is the space surrounding the sculptures and the interaction between them. The figures are still, with no tension or dynamics, they stand in the thickness of the transparent mass, making it impossible for the viewer to see it in one way. By observing it from different locations the beholder will see reflections and projections of the sculpture on the flat translucent glass. It also gives it an illusion of a presence of identical persons, like stereotyped roles or even masks.
The self existing element of the smooth language of the artwork is the factor, the centre of interaction and communication of the space and the human, the creator of his liberty.
Any attempt to fixate the space, to catch, to stop and interpret it in volume is not the sculptors task, quite the opposite, the plasticity expresses itself by taking over the space. Therefore any effort to limit sculpture to two dimensional existence was just an experiment, that gives new characteristics of volume, which are to project itself and multiply itself into eternity.