Three-dimensional artworks seem to truly belong to the human world. Since ancient times, sculptures have expressed a phenomenal potential for study of aesthetics and stabilization of form. Oskar Zięta’s public sculptures, like his small-scale objects, exist to focus our attention on the process and the material—its unusual qualities and the way it has been deformed.
Light: the grinding tool
Light: the grinding tool
In the Sculpture Park at the 14th edition of the Art Dubai fair, the Polish artist Oskar Zięta presents Urban Crystals, a hyper-cube-like concept of a future portal. They offer narratives of the urban landscape, nature, and man framed by abstraction. The crystals reflect an existing reality, while at the same time curving it into multidimensional frameworks—acting as modern urban kaleidoscopes. Each time light passes by the sculpture, or just looking at, constitutes a constant, unique grinding of the crystal. Each urban spectator shapes a diamond of individual perception—because all we see is a reflection.
Objects of the future
As a “sculptor 4.0,” Oskar Zięta uses the proprietary FiDU technology to deform flat metal sheets into three-dimensional forms such as Urban Crystals. The sculpture is a manifesto of monomaterial steel objects, which get their shape from high-pressure air inflation. The unique, patented FiDU includes highly advanced robotics and 3D modelling. Their broad potential is a point of interest in the design of luxury objects, as well as in conquering space.
Location drives meanings
Urban Crystals embraces its immediate context. In Dubai, it seems to complete the setting. The proximity of the DIFC Gate Building underlines an architectural juxtaposition with a powerful triumphal arch. Thus it can be interpreted as a component of Art Dubai’s concept of “meaningful engagement with the rich cultural heritage and contemporary art practices.” The nearness to the Museum of the Future also underlines Oskar Zięta’s futuristic attitude to processes and the uses of material.
