Figuratives, Galerie Schloss Porcia, Spittal am Drau, Austria.
2nd October to 30th October 2020
Tending to interpret intimate space with a special accent on the role of the female character in it from the very beginning, the sculptor Tea Curk Sorta has opened an entirely new aspect of meaning in her own opus. We have known since ancient Greece that the body and soul are mutually dependent, which is reflected in a person’s gestuality and therefore the person’s image as a whole. Tea Curk Sorta has managed to capture certain expressive contents of bodies that are like reflections of real states of being, and since the artist has succeeded in incorporating into her works all the frankness of her experience that had influenced the creation of these works, her female subjects actually work as reflections of her own moods.
My wire sculptures are lines in space. They are the same as the lines on the palm of the hand. All of them are speaking about life.
With my work, I try to catch the moment, the move. I am looking for a way to relax my hand and express my thoughts. Hand is creating the image that my mind was dreaming.
I start with dance
Around and around
Then comes the line
First, second, third and so on
Until life appears
No more dance then
Me and my work standing there
Staring to each other
Two different lives
Two different ways
In the end
In the sculptural works of the academy-trained sculptor Tea Curk Sorta, the line becomes a sculptural element that is constantly repeated, escalated in various forms, which as a spatial drawing or “sculptural” graphic element builds sculptures or forms translucent sculptural artefacts that even oscillate in installation spaces, and the sculptor builds them with great care to the placement of sculptures. The reciprocity of the plastic message is being developed – the corporality of the sculpture and the content as a situation in which a certain sculptural work (in this case mainly the body) is located in a given installation. And when her sculptural works come to life in space, we somehow realize that a sculpture is not merely an external form, that is, a shape, but an internal structure or substance. Their relationship is time and again a special result of enjoyment, it is a pleasure in the sculptural journey, in the journey of observing the external and internal parts of the work of art itself.
The wire sculptures emanate a sense of lightness and airiness as well as represent the dimension of change. Compared to more traditional sculpture material, wire is much more influenced by time; the lines drawn by the artist are variable, which makes the used material a grateful foundation for thinking about man and society, so inevitably defined by time and changes.