| Abstract | straživanje se bazira na metodi rada kojom neutraliziram težinu kiparskog materijala u procesu oblikovanja modelirane skulpture, a kiparski materijal i ja nismo u doticaju s fiksnim uporištem. Metoda rada koncipirana je po uzoru na simulacije efekata bestežinskog stanja na Zemlji putem fizikalnih okolnosti neutralne plovnosti u tekućem mediju. Formativni karakter skulptura modeliranih u uvjetima neutralne plovnosti indicira odstupanje od zakonitosti statike u kiparskom postupku, ističe ideju neutraliziranja djelovanja sile gravitacije, iskazuje senzibilitet za nultu gravitaciju koji sugerira nepostojanje stanja apsolutnog mirovanja u univerzumu te sugerira mogućnosti oblikovanja modelirane skulpture u uvjetima bestežinskog stanja svemira. Rezultati umjetničkog istraživanja upućuju na to da su sva očišta na formu jednako vrijedna tj. jedno očište naspram drugog ne diktira dominantnu ulogu pri sagledavanju forme. Praktičnom metodom rada ovog umjetničkog istraživanja ističem kako je kiparski medij modelirane skulpture moguće prakticirati bez primjene elemenata postizanja statike, a pritom se mogućnosti oblikovanja karaktera skulpturalne forme mijenjaju i sugeriraju nove kiparske vrijednosti poput „antigravitoprizmičnih‟ karakteristika. Cilj je ove prakse oslobađanje percepcije od zadatosti fizikalnih zakona, zatim istražiti likovni izraz u uvjetima neutralizacije ili odsutnosti djelovanja sile gravitacije, te u konačnici ostvarivanje sugestije bestežinskog stanja u kontekstu likovnog, kulturološkog i društvenog čimbenika. Putem dva uzajamna motiva, „Čovjek u kozmosu‟ i „Kozmos u čovjeku‟, tematiziram cjelinu od deset „slika svijeta‟ koncipiranih po uzora na znanost kozmogonije, suvremeni kozmološki model opažanog univerzuma, siječnje na mitološki koncept „centra svijeta“ te vestibularni sustav. Interpretacijom kozmogonijske, kozmološke, antropološke i filozofske dimenzije poimanja slike svijeta, te po nahođenju teorije o „trećemprostoru‟, „deseterodimenzionalnom hiperprostoru‟ i filozofiji „rizoma‟ ostvaruje se unificirana koncepcijska cjelina koja u suvremenom mentalnom sklopu predstavlja interdisciplinarni način promišljanja uloge i pozicije ljudskog bića u univerzalnom kontekstu. |
| Abstract (english) | The study is based on a method of work wherein I neutralize the weight of the sculptural material during the process of forming modeled sculptures. In this situation, the sculptural material and I are not in contact with any fixed ground base or reference point. The method of work is conceived to simulate the effects of weightlessness on Earth through the physical circumstances of neutral buoyancy achieved in a liquid medium. The formative character of sculptures modeled in conditions of neutral buoyancy indicates a deviation from the laws of statics in sculptural procedure, points out the idea of neutralizing the force of gravity, shows a sensitivity for zero gravity that suggests a lack of absolute rest in the universe, and suggests the possibility of shaping modeled sculpture under the conditions of zero gravity in space. The results of artistic research suggest that all points of view on the form are of equal value, i.e. one viewpoint compared to another does not dictate a dominant role in the observation of a form. With the practical method of work for this artistic research, I point out that the sculptural medium of modeled form can be practiced without applying the elements of achieving statics, and in doing so, the possibilities for shaping the character of sculptural forms change and suggest new sculptural values, like "antigravitoprismatic" characteristics. The aim of this practice is to free perception from the "givens" of physical laws, then to explore artistic expression under the conditions of neutralization or the absence of the force of gravity, and ultimately to suggest weightlessness in the context of artistic, cultural and social factors. Through two mutual motives, "Man in cosmos" and "Cosmos in man," I thematise ten "world images" conceived on the model of the science of cosmogony, the modern cosmological model of the observed universe, as well as a memory of the mythological concept "the center of the world" and the vestibular system. Interpreting the cosmogonic, cosmological, anthropological and philosophical dimensions of understanding the picture of the world, and by doing so in accordance with the theory of "thirdspace", the "ten-dimensional hyperspace", and the philosophical concept "rhizome", a unified conceptual whole is realized, which presents an interdisciplinary way of thinking about the role and position of a human being in a universal context. |
