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Contradiction and Blaszko’s sensuality
Written by Fabio Barraclough, Oxford,
1968 en Sculpture International
Blaszko’s own words reflect very clearly the
light by which he works, and his theory of bipolarity or acceptance
of contradiction can be seen as a very good safeguard against extreme
influences.
His work has been sensitively discussed by such important authors
as Bachmann, Seuphor, Pellegrini and Germaine Derbecq. I disagree,
however, with Berbecq’s view that Blaszko’s work lacks
sensuality. It presupposes the Mediterranean definition of sensuality
in art. In Latin countries there is a close connection between the
concepts of sensuality and figurative representation riveted by traditional
“classical” ties. Paganism has been a powerful artistic
motive: it has provided for the physical incarnation of ideas. Its
sensuality in sculptural expression has been dulled however, lumbered
as it is with the human body, whole and unselective, as vehicle. Sculpture
can be sensual without being erotic; it can be erotic without being
conventionally figurative. Certainly Blaszko does not set out to be
erotic, for he is powerfully concerned (in his own words) with “the
artist’s determination, throughout history, of impressing on
the forms that he creates characteristics which reflect the philosophic
and scientific speculation of his time, and to reflect economic and
social structures”. But this does not reduce the sensuality
of his work, as it does not wholly eliminate eroticism, for he qualifies
the main intention above with specific personal purpose: “The
order, the organization and the rhythm (of our vision of the universe)
should therefore be a faithful copy of our action-mechanism. The artistic
act creation is a biological function.”