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Living Leg nd.

Otto Schade

Living LegEnd

Written by Adam Siemieńczyk Emanation.


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Living Leg nd.

I have taken the ribbon from around my neck and hidden it somewhere on my person. If you find it, you can have it. You are free to look for it any way you will, and I will think very little of you if you do not find it. Stanley Kubrick

Otto Shade finds hidden ribbons in people. By master hand, as a dancer of rhythmic gymnastics, moves them into the image space. The precision of an architect which designs an intricate structure. Full awareness that any imperfection may lead to the collapse of the construction. He surrounds the emptiness by ribbons and makes by doing this the space for thinking.

He tears everything into strips and he reduces the humanity to ribbons. Ribbons form a shape. Sometimes they create the impression that they are muscle fibres. But he shows people who are not deprived of the skin, but taken away of artificiality.

Sharpness of speech taken from the resistance - he still remembers the times of Pinochet – by adding of surrealism, gains strength.

Emanation.


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Living Leg nd.

What does he say about the characters? He illustrates what the truth is. They cannot speak about it or they are trying to hide it. The truth which is embroiled in existence, in desire to dominate, in craving to be with another person. The ribbon is a road leading to the knowledge of the other human being. Sometimes it is the ribbon snake, which slips into hidden, inaccessible spaces. Sometimes it is another geological layer in the cross-sectional structure of human emotions.

And it all started with a kiss. He began the story of associating all meanings into the ribbon. And he continues. I do not think you can exploit it. The authentic touch of the mystery of the meeting with another person. And there is no single partner. Maybe that's why everyone can find himself there. Perception does not have a filter of desire to please anyone. Excessive freedom? Perhaps, but only in the insular meaning. The freedom of artistic expression is achieved, perhaps at the expense of the comfort of being with another person. Loneliness of the artist. Everything for clear contact with the viewer. Otto does not want to expose anyone standing next to him on a charge of participating in vivisection. And then he turns out that emptiness inside the human form. And it is designed in three dimensions. The height, width, depth. Height is not the magnitude. The width is not vastness. The depth is not profoundness. But when we see his works, we learn that he takes nothing away from humanity. He does not flatten these terms, but shows them in a wider perspective.

Emanation.


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Living Leg nd.

And perhaps because of that London produces bricks for a long time. For centuries, city creates a foundation for the graffiti drawn on its walls within minutes. Rushing with premeditation. Awareness of detailed preparation and a later reception. Interestingly, an artist does not sell his art. He sells copies. He is calm. Does Otto want to destroy all the walls - the division between the metaphysical desire to understand, and cold calculation? We do not know that.

He emerges from the wall standing in between. And he is moving in our direction. And we do not know also - whether we will be a spectator or an object?

And even if he will flood the concrete into the ribbon. And he will lead it into the sky. And he will spin it. Despite this we will know that the centre of gravity is in empty space. Within us. He just puts question marks. And to be able to ask means the same as to know. So there is the knowledge about our world somewhere. About us. It is tore into strips. And it is reduced to ribbons.

Emanation.

Living Legend  

Otto Schade by Adam Siemieńczyk. Living Legends.

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