Within this sculpture I found a special feeling for the detail of the glass vessel, closed on both sides with a metal lid, a feeling for carrying this vessel that represents a frame for preserving the body, the biological material in the belief: Et expecto resurrectionem mortuorum, et vitam ventúri sæculi this is a monument and pedestal to the (one who) passed. A work by Lujo Vodopivec represents an almost always neglected reference, an influence I might not be aware of in its entirety. In 2002, when I was in my final year of sculpture studies, I invited various sculptors to participate in a project in which I sought for the common denominator in their works as contemporary sculptors. The participants received a piece of clay from which they were to create their sculpture. Once the end of semester exhibition ended the works were recycled into materia prima, which is used at the Academy for modelling. All were recycled, with the sole exception of Vodopivec’s work, for he made it impossible to recycle his work as he framed the letter and a part of the clay in glass as a souvenir. The high production standard artefact with a conceptual and formal plan was given as an example; maybe the time has come to place it amongst the referential starting points of this opus – as a new angel, observing the past and flying into the future (Klee’s Angelus Novus in Benjamin’s essay Über den Begriff der Geschichte, 1940).
Opus Corpus indeterminata by artist Zoran Srdić Janežič