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Thus, in Widenfalk's reintroduction to the traditions of figurative stone sculpture, one can trace a reaction against the last two decades' "experimental" fascination for materials, where one has attempted to compensate the often obtrusive absence of a visual meaning in abstract and minimalistic sculpture. By pushing those spectra of natural or technologically created materials to the most fantastic metaphysical significances, often exposed by means of pompously arranged installations. Widenfalk seems to consciously take distance from these
often vague complexes of this art by the use of the human
body and a far simpler expressed symbolism. Contrary to the
classical/romantic method he uses in creating his works, his
reaction toward late modernism doesn't draw on a
retrogression to any antique ideals of the great traditions,
as is noticeable in post modern classicism - still, perhaps
one may add, in spite of the fact that many of his
sculptures have taken shape in the richly traditional marble
workshops of Pietrasanta, northern Italy. |
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