Luba Lisenberg. My sculpture as bodies of writing. November 2017
"The creative art process rests upon the solid aspect of the matter. The formal definition of the modules is far apart from the figurative forms, favouring leaning axes and austere planes to reinforce an appearance of strength without influencing its internal splitting process."
CD rom editado por "Galleria Alba", Ferrara, Italia. Mayo 2000
Inner pro cession
In the process of doing the work itself, there is an effect of meaning and a mobilization of desire that, in this sculptural group, is related not only to the permanent erosion of our personal and social relationships, but also to the progressive deterioration of the environment.
It is a set of seven direct carvings on European Elmwood (ulmus procera). The wood condition was fundamental to the process. The challenge was to harmonize the extant presence of wood material, which had been exposed to destructive elements, and at the same time explore the possibilities to achieve a sculptural presence from the available materials.
In this occasion the European Elm (ulmus procera) is completely exposed to its nature. The wood shows an apparent strength and solidity with its multiform capricious veins. At the same time it denounces its fictitious solvency due to the split produced by the silent attack of the bark boring beetle. This insect develops in the sap vessels and spreads up through the whole tree helped by its circulation. Two main effects are produced; obstruction of the sap vessels and poisoning of the leaves, causing ultimately the death of the tree.
The creative art process rests upon the solid aspect of the matter. The formal definition of the modules is far apart from the figurative forms, favouring leaning axes and austere planes to reinforce an appearance of strength without influencing its internal splitting process.
“From the remains to diversity”
About June 2000, I received as accidental or friendly gifts, some logs damaged by insects, snow, and other natural agents. I started working on them and noticed that too much wood was lost. I feared I would be
In these shocking times of crises and social troubles affecting the parameter of communitary life, my reaction was to go searching for pieces of wood in similar conditions. I tried to rescue those recoverable. I accepted the irregularities, seeking for space definition.
The acts of taking away the useless wood -the damaging/damaged wood- and using the remains, constitute the axis and guidelines of “ From the remains to diversity”, six carvings which include the constructive resource