My work revolves around two axes: the cubic form and a notion of space.
For a long time, I have been using geometric figures, mostly the square and the cube, to build my forms.
Choosing the cube, one of the best known, stable and simple geometric figures, has been a challenge and a constraint for me. This constraint allows me to delve into the cube, and each time execute different choices on the same form. Simultaneous contradictions and oppositions are also part of my research (flexible/rigid, transparent/opaque, small/monumental).
I approach the cube in an increasingly minimal way. I reinvent it, I open it, and I distort it without ever losing sight of its nature.
Most of the time, I preserve the lines that define the cube so that space is allowed to enter and to give presence to the space both visually and physically.
I use both metal and industrial plastics to build shapes, and often, the material guides me in my research. I like to experiment with new materials because each time something unexpected can occur and give birth to new inventions. For example, with PVC sheets, the cube becomes flat and flexible. With paper, it becomes fragile and loses its stability.
Often, I paint my sculptures or I use materials with a ready-made color. I prefer bright and warm colors for their energy and radiance (red, orange, and sometimes pink). The immaterial vibration and energy emanating from the color makes the space that my works occupy more present.
Though modest in size, my sculptures take space into account either by their transparency, where the exterior interferes with the act of perception, or in the case of the wall sculptures, by a play between sculpture and support.
I place my large works directly on the ground so as not to separate them from the surrounding space and so that they share space with the spectator.
Often, I build installations based on and from the site. They are large and therefore penetrable, so that their perception is simultaneously visual, corporeal and architectural.
Thus I create a link between the art, the exhibition space and the real space of the viewer—his life experience. The spectator is included in the work in the manner of a house, a place of life.
contact & information
more information about the artist
email Bogumila Strojna