MATERIAL: Resin and paper
HEIGHT: 230 cm
“(…)Einstein compared a man to a person looking at a clock face. He sees the movement of the hands, their rhythm, he can create a theory that predicts their movement, but he has no idea about the construction of the mechanism. According to this rule, mythical attempts to organize the world were made. Others, outsiders: alien, maladjusted, or escaping a clear classification, were tried to be forced into the frames provided for them, endowing them with appropriate attributes.
Thus, for example, medieval persecutors could not resist the temptation to “dress” a heretic in a paper miter with a devil painted on it, or a pointed witch’s hat. This attribute was the ultimate proof. He physically distinguished a man who was ideologically different. After this treatment, the criminal no longer aroused sympathy. He was different, he was a criminal because he looked like a criminal. One could, with a clear conscience, enjoy the spectacle of the execution.
The effect I was trying to achieve when sculpting my Heretic is the opposite of such magical thinking. I wanted (based on the theory of incompatibility) to make my heretic human and defenseless. He’s not a criminal. It’s a victim with a pointy hat stuck over his head. Nobody wants to be a heretic. But almost everyone is, to some degree.
(…) The matter through which the figure sculpted by me is revealed to the recipient is gray wrapping paper. It’s her way of being in this world, just as our way of being is our bodies. Often beautiful and arousing admiration (especially for a sculptor), but also fragile, passing and, above all, inseparable from an individual, unique personality. I also used gray paper for formal reasons. It gives the impression of flesh, and by creasing, layering and tearing it, it intensifies the expression, making the sculpture seem light and delicate.