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In a Scandinavian context,
Lars Widenfalk has since many years appeared as one of the
principal exponents for a revitalizing of figurative stone
sculpture.
Being born in 1954, he belongs to a generation that saw the
body be eliminated in three-dimensional art, and stone give
way to steel, plastic, and concrete. Against such a
background, he has borne his own sculpture back to a new
point of departure.
The
stone - this element which, through the perspective of
natural history, endures eternally - is once again present
as an indicator of time, against historic/concrete rooms.
Furthermore, through the human body; the only "universal
form" where nature and history are seen united. But when
Widenfalk opens and peels his stone, it is also to reveal
something unexpected in the expected form.
In
such a way we are made aware of the fact that art cannot
exist without a conscious human act or will. At the same
time, the work of art in its entirety does not solely
reflect the artist's desire. With a so utterly resistant
material, he also lets the stone have its will by that its
function becomes to create an antithesis to his own thesis
of the work - which, by the end of the working process,
appears as a synthesis of man and material - the work of
art!
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Widenfalk | Blackbird
- The Black Stone Violin
lars@widenfalk.com
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