|material||wood – oak, plaster, 3D print, graphite|
|dimensions||5 x (30 x 30 x 30) cm|
|project||Graduation Project from Sculpture studio at FFA VUT Brno, CZ|
The Inner Space is a series of cubes which represent five stops on the way through a matter, up to the absolute disappearance of its structural form. The set shows a story line transferred into five identical excisions which come out from the dependence both on the artist´s interpretative possibilities and the latest technologies. It tells about the transformation of a substance, connecting traditional sculptural procedures with current digital technologies.
The source of inspiration for the concept of this polyptych was the movie Powers of Ten by Charles and Ray Eames from 1968. In this short movie the viewer is guided through the universe and the microcosmos in marked denary intervals by continual receding and subsequent approach. The same principle has been applied to this work. Each object is a follow-up to the previous one and is ten times the size of the preceding enlarged wood mass, where its structure is being developed like in a drama genre.
The way through the mass begins in the real world represented by the first cube of the burned oak wood. Wood here acts as the main structural element, which indicates the story line of this artwork. Its abundant diversity provides space for processing particular parts, while the burned structure unifies the whole image of the collection.
After the material introduction, the second cube follows in a form of a manually shaped structure. The inner content of this cube remains yet entirely unknown. The cube is modeled by using direct perceptions and photographs and greatened by classical moulding procedures. Certain conflict has thus appeared between the original real matter and my own interpretation that disables further insight into the matter.
This matter is disclosed in the third object. It represents the climax where the most dramatic structural transformation of the whole set takes place. Even though the cube slightly returns to the form in the real scale, another detail can only be trimmed off.
The trimming phase is reached in the fourth cube, where the structure starts fading out and its whole picture becomes abstracted. The abstraction in this case is used as a particular boundary stone creating a link between the absolute disappearance of the structure and its previous metamorphosis.
The last cube is a sort of catharsis – a pure matter, which thanks to its geometric form, presumes starting with the construction of a completely different substance. It is a basic structural component missing the merest information about its metaphysical origin.
While the first cube is made of one piece of burned oak wood, the second one was modeled in clay and then cast in plaster, where the fine details were fleshed out. The third cube is an intersection between the traditional modeling and the latest technologies. The structure of the burned wood was electronically scanned in cooperation with the Tescan company. The scan was subsequently used for modeling in a 3D software and printed out by a method of Rapid Prototyping. The fourth object was also scanned electronically and then cast in plaster directly into the styrofoam mould. The object was then etched by solvent. The last minimalistic object is also a plaster casting.
The plaster gives sound and material atmosphere to the project. Its fragility cohere with the instability of the burned wood, while the sound is getting closer to the metallic atmosphere of the graphite used for unifying the whole set based on the micro reflections of the burned material.