The second realistic sculpture (Ezekiel) represents subjugation to what the eye can see, total surrender to and obsession by what is observed. In the “ecstasy of hyper-reality” of our post-modern world, man is petrified and appalled by the exaggerated closeness of things, by their omnipresence and tele-presence, by the total promiscuity of all the things that besiege him and to which he surrenders without resistance.
The first and most impressive realistic sculpture presents winning over the other person’s perspective, winning over the view of the Other. The possession of the other person’s perspective, presented here as possession of Goliath’s plucked out eye that David defiantly holds in his hand, means holding power.
The third realistic sculpture reveals yet another option between the Self and the Other. Thomas’s suspicion regarding Jesus’ deifying serves only to prove his status. Thus, we find out that even suspicion in mediated images and the game of reflections around us is ambivalent. Apparently, it is a prerequisite to preserve subjectivity (I doubt, therefore I exist), but on the other hand, suspicion is prerequisite to belief (Dostoyevsky).
Friedrich Wilhelm Nietzsche (1844-1900) announced man’s historic degradation and tried to find a way out of the world in which man trapped himself. His idea of the necessity for the man to “transcend himself”, of “the present that lives at the expense of the future,” became a gloomy vision of humanity at the beginning of the 20th century. If indeed there are no eternal truths, no god, no intelligible spheres, no noumenal or transcendental truth, no chance to go beyond this reality we ourselves have created and in which we are trapped, then Nietzsche is right when he says that we are forced to re-create ourselves. The man must transcend himself.
A dangerous transition, a dangerous journey, a dangerous looking back, hesitation and stopping – this is what man is according to Nietzsche. That man should transcend himself, leave himself behind, and in an impossible feat – make a dangerous leap beyond himself.
Man is something that shall be overcome. What have you done to overcome him? All beings so far have created something beyond themselves; and do you want to be the ebb of this great flood and even go back to the beasts rather than overcome man?”
The story told by each individual figure starts with the resilience of man emerging from the ground (defined as mother-earth or environment) which, through/with the collective subconscious (a metaphor contained in the historic imaginary figure), come together in the tension and uncertainty reflected in the “small” character (the author, the creator). In all of them together, as in every individual portrait, in different ways there is a strong reflection (even poetic) of dramatic tension which suggests anticipation, and the psychological moment is underlined in relation to the usual hyper-realistic process of strict photographic, unemotional depiction and interpretation.
Categories: frontpage, portfolio, Realistic Sculptures • Tags: Duan Hanson, Lifesize Realistic Sculptures, photorealistic sculpture, Realistic Sculptures, Ron Mueck, sculptor, Sculpture, Zarko Baseski
The exhibition represents three different types of humans. The connection between the three characters – author/artist, ordinary person, and imaginary portrait – can be found in the general representation of humanity, that is the human being as a symbol of ongoing existential struggle which includes real life and historic influences, as well as imaginary conditions of the spirit. These representations of people, without idealizing the form of the human body, reflect a strong life force and a potent creative energy.
Categories: frontpage, portfolio, Realistic Sculptures • Tags: contemporary sculptor, human hair sculpture, hyperrealist sculptor, Hyperrealistic Sculptures, photorealistic, Realistic Sculptures, Ron Mueck, sculptor, Self-portrait
In Zarko Basheski’s sculptures there are several elements which are new to Macedonian sculpture – the hyper-realistic treatment, technical production and use of new materials, size of the work, the concept – all of which, when combined in one, offer a multilayered reading of the artwork.