a system of lines intersecting one another with a certain order and modifying
the previously determined space both physically and in its use.
A person following the picture created by the moving line experience the necessity of adjusting to the spatial situation producing motions of the body (bending, ducking or stepping around) which is a form of dance, simultaneously experiences states that go beyond the boundaries of quotidian stereotypes, behavioral codes and habits.
The activity of space is a result of the meeting of the entrancing energy and the extrinsic energy imparted by the line to the space.
The intrinsic energy is everything that is characteristic of a given space the architectonic idea behind it, its proportion, width, height, length, the materials of which it is composed (concrete, metal, wood, plaster etc. audits function an office building church, a city square, landscape) and is the way that it commonly experienced by the observer.
In my works, line speaks with the qualities of the material from which the work is made, the picture which it creates (various ordering and geometry, chaos, concentrations, shattering, rhythms, contrasts, similarities, the relationship between filled and not filled space) and the shape of line (simple, wavy, vertical or inclined). This is the extrinsic energy.
The objective act's the material from which line is made whereas the subjective act oftentimes makes its activity and meaning the first felt. For example, wood which is light, warm, with light hues, and created by nature with her internal and external form, touches the aesthetic sense of observer. Metal, on the other hand, is cold, heavy, with could colors technological and difficult to turn touches rather anti-aesthetic sensibilities. Glass which is cold and heavy but clear in contact with light sometimes, even not visible, is not technological but mineral, satisfies the aesthetic sense but is unsettling due its fragility and sharp fragments (which are dangerous because they can cut).
The space crystallization proposes active space having as their purpose the ability to touch the basic universal sensitivities of person and to reveal cultural stereotypes (Polish-nests or Japanese-nests, or French-nests, or American-nests) and the psychological baggage, personal behavior codes and habits.
Ludwika Ogorzelec 1999
From an understanding of sculpture as solid and heavy, viewed from the outside and made from lasting materials. I have left myself line expressing itself with the properties of its material and the space which that line encloses.
Taking meaning from the world of biology, machines and instruments, I analyses the problem of sense and the absurd. I search for the moment of balance.
The results of my searching are light, delicate structures - the objects join those meanings in a new whole on the basis of harmony.
Thus I began the cycle of sculpture
entitled Instruments of equilibrium which I continue today.
They are mobile objects which measure balance.
Following directly from the creative path I have traced out, but begun leather, is the series Spaces - The cycle Crystallization of space.
Space is determined physically and purposefully by the interference of lines with the purpose of obtaining new psychological and aesthetic qualities. Spaces show not only the inside but carry it to the person, the reflection of whom are intensified with emotion.
In my creation, I give equal expression to my intellect, intuition, temperament, the sum of my experiences and the psychological state in which I currently find myself. A successive, completed sculpture is the sum of my experiences and is a stag a on the road to a new, as yet unknown, domain and not a work straining for excellence and virtuosity.
Ludwika Ogorzelec 1994