MATERIAL: Patinated bronze
HEIGHT: 35 cm
Created in 2017
Sculpture signed
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Standing in another way is a composition depicting a twisted organic form, in which you can see anatomical elements – the legs float above the twisted torso, and the whole sculpture is supported on the hands.

This sculpture was not the result of any specific inspiration. It rather expresses anxiety, shows the revaluation of my values, but it is also a parable referring to the reality I observe. There are echoes of my old work The Dead Minotaur here. Expressiveness and piled-up forms resembling a muscular torso connect it with that realization. The difference, however, lies in the detachment of the Standing in another way from the environment. Intense red and the lack of a base make Standing in another way appear in space as a foreign object. It is supposed to annoy the environment, which at the same time bothers this “flesh”, organic form. As in The Dead Minotaur, I used the contrast of strength and powerlessness here. Despite the massiveness, which can be perceived as muscular, the sculpture “stands” upside down. You could say it’s a caricature of standing. The function of the legs is performed by the hand, and where we would expect a head, we see expressive, gesticulating feet. However, this “alternative standing” certainly cannot be considered as inert lying down. It is a loser’s fight for dignity, coping with unfavorable conditions, but also feigning normality. Nothing is right here. This pulsating mass is a separate world. Bright red is to unite the composition and emphasize its fleshiness, but also to make it unreal and tear the surroundings away.
The sculpture has a spiral composition. I wanted the viewer’s attention to shift from the splayed toes to the inside of the churning form of the torso. This intention to direct the course of perception may speak for the inner image.

Another selfie? Partly yes. In this sense, each of my works is to some extent a self-portrait, or rather an expression of certain inclinations. It reveals formal infatuations and internal struggles. However, I want to make a reservation that I prefer to look at creativity through the prism of love for beauty and the imperative of creating, rather than consider it as a charming lament, seasoned in such a way that someone would listen to my regrets. Which of these motivations is more stimulating? My intuition tells me that both are important, but I can’t decide which one prevails.