SOBOCIŃSKI
or Branding in Chaos
 

Robert Sobociński puts millennia to a halt. He comes from afar and from above. In his art of black magic and strong possession, he starts off with fundamental themes and then throws in a key of multiple codes. The shapes, crawling and winding or upright and slender, mix and merge with one another. They forget the delineated route and transport the viewer towards the disturbing and puzzling roads of uncertainty.

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Sobociński has the soul of sorcerers and shamans. He invokes the bronze artists of Luristan and succumbs to their imagination, full of illusions and lunacy. He extracts gigantic creatures emerging from the deep. An air of imminent catastrophe seems to surround the sculptures, while some formidable force, lurking in the bronze matter and brutally released, appears to ascend to conquer the sky.
And they appear - the inconceivable ones - like a spurting geyser.

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There is nothing more but an external theme, a faltering chrysalis of a dismembered and multiplied body, feeding on all the universe's illusions. In Sobociński the element of absence is a creative element and strikes as a bolt of lightning a terrifying and perverse body that keeps up appearances. Exhumed from underground, his intensified sculpted forms, embracing with their tentacles and unstoppable, turn usable space upside down. Conquering the world, the skeletons that bear traces of infinity and stretch out, lead to the disappearance of our reference points that grant us a sense of security.

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This sculptor frees the mass of a sculpture of its weight. What remains is only a casing, bare remains, a hollowed casing, and a delicate skin of bronze... Thus we are dazzled by the miraculous presence of his big-sized sculptures.
When primordial tribal and archaic works make their way directly to the art of many cultures, it means that our answers have run aground and that our convictions are running out.
One cannot comprehend the universe by means of the mind only. And when the wave that shapes the minds stops spreading, something functions having no effect...

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Sobociński punctures the universe. He breathes with absence and the sultry limits of the obvious have become fragmented. The light of day has been touched by the disease of the time-to-come, and its abundant matter, burnt to the core, is feverish. The wind of utter lunacy tears up the hidden sides of knowledge and the order of culture becomes wiped out. Sobociński tears up space through matter. Through the holes in space he dissevers matter in order to transcend its limits. Carving wounds in bronze, he illuminates humanity's scars. Opening up lacunae in the opaque, stirring the motionless, he rips our convictions to shreds. He puts the world in the midst of uncertainty.
Primitive writing of disfiguration. Truncated space.

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Sobociński puts to the test the demonic power of everyday prohibitions that have conquered our life and our emptiness. The order of sanctities becomes shaky and a life's terror grips the soul by the throat. The fascinating cruelty of demons tames the ultimate caresses of phantoms and, tearing out of the dark, a chaos emerging out of a profound chasm is born.
Thus Sobociński claims the world for himself...
The everyday no longer has its foundations; the cruel and the sublime, intertwined with each other, spread unbound. One can see bits and pieces of rocks, thorns, fingernails, and shaky organs bearing a bizarre look of insects, while art wobbles.

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Sacrificing matter and branding skin. A sculpture endowed with a sex, extolled to a grand female arch. There is no distinction between man and animal, elements and ground, shells and skins... All the possibilities of what is intimate for the body, combining vital forces that share the universe, are present, moving, and ultimate.
And the earth is but an extensive sanctuary... Transformations reject the unacceptable matrix of identity and the status quo that can hardly breathe within existence.
In Sobociński, tardiness and rapidity enhance and contest each other. The time of decline comes short of reaching the terrifying ground level. Altitudes, however, offer resistance.

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Sobociński's extraordinary syncretism, greatly diffused, depends on an extraordinary dissolution of being, on a lack of differentiating creative tensions. This is a high-risk sculpture, closer to the unknown and unnamable rather than to the universal and instantaneous. Each transformation destroys the initial closure and opens up to an invigorating otherness. A transforming being has neither memory nor age. It is neither obsessed with fulfillment nor yearns for a paradise lost. Artistic transformations are ephemeral and unique figures, from another place that is forever present and from a reality that remains in peril.
 
And thus sculpture dazzles space.


CHRISTIAN NOORBERGEN

e-mail : lp.2o@tcudorptra