I completed this mixed-media sculpture in 2022. The sculpture is round, has a base diameter of 63.5 cm (tapering towards the top), a base circumference of 198 cm, and is made of styrodor, plaster, fabric and acrylic paint. It is a combination of hard and soft materials, including upcycled materials. The sculpture captivates with its expressive colours and form. The title of this enigmatic sculpture refers to a mountain in eastern Sardinia called ‘Perda Liana’, whose shape, when viewed from a distance, bears a certain resemblance to a female breast, whilst the form of the sculpture is the intuitive result of layering materials. However, I do not wish to reduce the sculpture to this aspect in any way. For me, other things are far more important. I regard this sculpture as something that transcends the boundary between landscape and anatomy, leaving plenty of scope for different interpretations.
My work centres, amongst other things, on the following key areas of tension: landscape versus the body, concealment versus visibility, and static versus movement. These contrasts reinforce one another and emphasise the sculpture’s mysterious effect. I have also explored how we perceive the body and the significance of materials. The garment that partially envelops the sculpture is more than just an upcycled material; it has its own history, and behind it lies a woman who once wore it. By covering the body, the fabric emphasises its form more clearly. In this context, ‘envelopment’ does not mean ‘concealment’, but rather the highlighting of form without us knowing what lies beneath. On the other hand, the fabric suggests lightness, yet the opposite is the case.
In this video, we see the sculpture on display in a gallery in the year 2026. The sculpture stands on a turntable on the floor. This was a deliberate choice. A more traditional presentation on a plinth is also possible. As it slowly rotates on its own axis, the figure is not viewed from a fixed frontal perspective but gradually reveals itself to the viewer in its entirety. Observing and understanding the figure takes time; perception is a process. The rotation makes the sculpture seem almost alive; by contrast, we associate a mountain with something immovable and static, appearing eternal. Placing the sculpture on the floor makes it appear fragile, yet it is even more reminiscent of a landscape.
