Powerful figures, torsos and heads bespeak a certain strength at once capturing a solidity and sense of movement. Trzebinski’s sculptures in bronze and his copper and brass plates that are showcased as actual artworks rather than prints are phenomenal, even more so considering the artist, who hails from Kenya is largely self-taught. His understanding of human anatomy and his technical virtuosity at such a young age is remarkable and a must-see collection at Eclectica Design and Art is now
I enjoyed the combination of muscularity with the additions of protruding shapes that emerge from these bodies. The artist speaks of the significance of nature as an inspiration for his works and it is thus as if the figures are both constructed by skeletal structure as well as an alchemical interweaving of the very substance that is at the heart of the earth or more mystically, of the cosmos itself. This is further justified considering the plates where the figures appear to emerge out of a kind of interaction of the basic chemistry that define matter.
It appears that the artist, intellectually, intuitively and in terms of acute observation is concerned with the properties that coagulate to form the stuff of things – the very molecular, atomic and force fields that energise and vitalise natural phenomena.
Then beyond the configurations of matter, there is perhaps a more mystical component. There appears to be a surge of energy in Trzebinski’s work that bespeaks of the chakra points, vitiating energy points of the human body that reflect higher patterns of universal modalities of being from the rarefied level of the will, of pleasure and of thought down to the emotive spirit that in turn vitalises the nether regions – the gut, sexual organs and the limbs.
Artwork Top: Vires Portrate
Artwork Above: The Solemn Truth
These forces are contained with the electro-chemical and magnetic resonance one finds in nature and particularly through the human form, a microcosm of the macrocosmic universal template. One might conjecture that such an interpretation finds an accord in the artist’s use of odd appendages that emerge from the head and incisions, like tectonic rock forms that are etched into the body. Such interventions thus bespeak the idea that man is from the dust of the earth, and at the same time such is not mere dust, having been incubated from the starry heavens and as physicists would have us believe, having emanated from a seminal point, known colloquially as the big bang. I sense in these works then the transformation of matter – sculptures that are far from inert and copper plates that vibrate with higher resonant patterns, the ebb and flow of the natural world itself.
What is perhaps most positive in this show is the general sense of health and vigour, a zestful, youthful spirit that enables the three-dimensional forms to, as it were breathe, and the plates to somewhat pulsate, notwithstanding his repetitive iconography.
There is one sculpture where the form is created out of minimal sinewy “lines”, the rest of the body being vacuous, emptied of solidity. Perhaps this invites contemplation on the idea that, like the atom, matter is primarily empty and the human body changes to a large degree year after year, just as the planetary system moves within the vast expanse of space and stars exchange tremendous amounts of hydrogen and helium, and like, the human body, follow a course of birth, growth, decay and death.
Trzebinski’s work is self-assured and confident. He is in command of the technical skill required and as I have argued this bespeaks a wealth of ideas that ought to invigorate a healthy respect for nature and indeed one another. This in turn should ignite interest, scientific, philosophical and artistic into the very origins of matter itself. At some point, however, an impasse may be reached. It is at that point that the strident quality of the human figure gives way to humility and a diminution of the ego and self-centeredness.