TRUTH LIES IN WHOLENESS
Just like neither the seed nor the blossom nor the fruit on their own constitute the true essence of a plant, neither a girl, a damsel, a mature woman nor an elderly lady is, on her own, a ‘TRUE WOMAN’.
Rather, truth lies in wholeness. The cycle from seed to blossom and fruit, which in turn begets seeds – this is the ‘WHOLENESS’ that represents the true essence of a plant. The cycle from girl to damsel, to mature woman and later to elderly lady, this ‘wholeness’ harbours the true nature of being a ‘woman’.
Rather, truth lies in wholeness. The cycle from seed to blossom and fruit, which in turn begets seeds – this is the ‘WHOLENESS’ that represents the true essence of a plant. The cycle from girl to damsel, to mature woman and later to elderly lady, this ‘wholeness’ harbours the true nature of being a ‘woman’.
In creating sculptures of females, I strive to give this ‘wholeness’ of a woman a sculpted form: the youthful, tender smile above the ripe bosom, dainty shapes rooted in old wood, gentle hands resting on sorely tried yet vulnerable arms, bright colours draped over a weathered dress.
Upon closer inspection, contrasts that initially appear to contradict each other (such as girl – woman, old – young, tender – rough, bright – weathered) instead amalgamate in the wholeness to form a single entity; just like a caterpillar is not the opposite of a butterfly, but rather combines with it to create one whole unit, and just like the caterpillar itself simultaneously already holds within it the essence of being a butterfly. The aim of my sculptures is to subtly point out to the observer this unity of contrasts in the context of WHOLENESS.
Yet what insight do I gain from my work?
I have been working on sculptures of females for years. During this time, I have come to the realisation that in the ‘wholeness’ of a woman, in the entity of her entire life cycle, a lasting and quintessential element reveals itself: her sublimity, which transcends ordinary beauty.
In my sculptures, I endeavour to intimate this ‘sublime beauty’ (which, in my opinion, is a free, light-hearted and jovial beauty that also radiates dignity) and thereby give the observer gazing upon these forms – without him or her being truly aware of the inner process – the freedom to complete the sculptures with eyes that he or she deems unique.
This approach is designed to subconsciously involve the observer in the moment of creation and cause him or her to be personally moved by the object: In studying the sculptures, lovers may recognise their sweetheart, parents their daughter, children their mother, siblings their sister, friends their confidante. Women, on the other hand, are to identify with the sculptures and recognise the sublimity that resides within them.
Reflected in a woman’s sublimity that transcends ordinary beauty is her dignity, which never fades.
Reflected in a woman’s sublimity that transcends ordinary beauty is her dignity, which never fades.
Bolzano, 3 December 2017
ps. Il testo é solo un tentativo di offrire all'osservatore frettoloso una chiave di interpretazione per un avvicinamento adeguato alle mie sculture.
Il mio linguaggio é il mio lavoro: solo per quello vorrei essere valutato.
Manuel Tschager
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