Krisjohn Horvat: Sculptor and Artist

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Artist Statement

Iron shapes suspended in mid (indoor) flight – no motor. Energy infused mass(s), caught in a moment of suspended transition – ascending, or descending … soaring, or collapsing? Thrusting forms…truncated. Geometric voids incising into swelling, organic remnants of a larger whole. Vacant platforms and voids imply the removal or loss of what had been. Nearby buds seem to emerge from within, but in a manner that does not reveal their future mature state. Subtly complex, anthropomorphic forms coexist or morph into surfaces/materials associated with decay. Dust, rust and rot share an uncomfortable embrace with the sensual. Shapes that simultaneously reference human (usually hidden) forms with those of weaponry…all sheathed in satin…or is that a finely shaped metal. Intimacy (of a type) is fused with menace. By coming from combinations outside our usual comfort zones, these difficult stimuli catch the casual passerby’s attention, making them a participant. A dialogue is begun. What initially seemed only a spectacle based hook-and-reel strategy, is revealed to be a complex, multi-layered visual encounter.

These varied states of transition are then combined with visual choices that reference the unconscious blurring of boundaries that should separate intimacy from the need to control (using the most complete definitions of both). A heightened degree of this need to control would be forcible acts of power; whether between individuals or more broadly societal. Details of war planes, architecture and the physically intimate are combined into singular forms. While the specific shapes are chosen for their visual interest, these selections are also rooted within the understanding that these particular subjects were used subliminally to project and justify power held by institutions or individuals. The architectural sources are Pre-World War II churches, government buildings and palaces. No subject, though, so embodies this nefarious fusing of sensual beauty with projections of aggressive, violent power like the lethal, swept wing grace of a soaring fighter plane.

My afore mentioned use of forms and materials that are seemingly in a state of flux reflects the life affirming ,life defining acts of the quest. The contradictory types of evolution that are the viscera of my sculpture parallels how there is a psychic conundrum created by what we need to pursue… primal goals that are inevitably in conflict with each other. At the beginning of our lives, and on a continuing basis thereafter; we have the need to affirm our existence by developing a sense of self…a sense of our uniqueness and of individual worth. But as we mature, the exigency to develop a sense of connection within this world as well as within the universe begins to arise. The first of these needs would be fulfilled by attaining true human intimacy (love) in its most complete spiritual, psychological, and physical sense. Gaining an inner ability to be spiritually at one with all else would satisfy the second. But fully devoting ourselves to these new goals requires acts that compromise, even threaten the sense of self that we have spent the entirety our lives developing. Becoming one both spiritually and with another individual requires a continuing series of selfless acts; acts given while withholding nothing. Selflessness + openness = vulnerability. The inevitable discomfort this produces, most times results in a long series of imperceptible, defensive acts. We learn that it is far easier to exert power over others than it is to risk the giving of one’s hard won individuality. Having dominance over others can also validate our sense of uniqueness and importance. Likewise, it is far easier and much more tangible to accumulate possessions than it is to submit our total inner being (soul) to what is inevitably an abstraction. If the quest defines life, then the adult life is defined by sublimation…such is the receding passage of ideals.
Who said I don’t have a sense of humor.

Krisjohn Horvat