Through the passage

  • Dimensions:190-260 * 50-220
  • Year:2017-2018

The work Through the Passage was produced in the years 2017-2018.

It consists of 8 unnaturally tall figures. The bodies are represented in motion and thoughtfully set in circle composition.

The disposition of figures in space and the relationship between them are of crucial importance for the understanding of the work.

Formally, I’m interested in the body in motion, precisely in the moment that embraces all precedent and subsequent moves. The work reflects on changing moods and state of mind, on the subtle transitions between reality and dreams or on transcending the limits of being and existence.

The circle composition of the sculptures that has a very rich symbolism in the cultural tradition of humanity originates in the belief that receiving and changing starts within us and only then affects the surroundings and society.

The wired figures that have no clearly delineated facial traits but are precisely defined through the form of dancing figures allow – just like my previous installations – for different interpretations. What is certain, though, is that I perceive the body as a constantly moving entity in a continual social interaction with its surroundings.


“The series Through Transition is installed in the presbytery and for the first time in its entirety. It consists of eight sculptures in the form of human bodies, executed in supernatural size. The figures are placed very close to each other, but there is no physical contact between them. The bodies are frozen in a moment and animated into forms, reminiscent of dance positions. They are caught in a fluid circular movement so that they are intentionally not placed in a proper circle. This apparent movement creates a sense of connectedness between the figures, although they retain their intimate space even within the group. The circular form of the installation strongly connects us to the universal symbol of wholeness, perfection, timelessness and even divinity. It is the opposite of chaos and unpredictability, so engaging with the circular curve triggers a sense of development and growth. Through the rhythmic alternation of beginning and end, the circle stands for an evolutionary transformation process that, as the artist says, “begins within us and only then has an effect on the environment”.

Nina Sotelšek