I want my sculpture to be like a passing phenomenon springing out of the world of biology, machines and instruments.
From an understanding of sculpture as solid and heavy, viewed from the outside and made from lasting materials. I have left myself line expressing itself with the properties of its material and the space which that line encloses.
Taking meaning from the world of biology, machines and instruments, I analyses the problem of sense and the absurd. I search for the moment of balance.
The results of my searching are light, delicate structures - the objects
join those meanings in a new whole on the basis of harmony.
Thus I began the cycle of sculpture entitled "Instruments of equilibrium"
which I continue today. They are mobile objects which measure balance.
The measurement of equilibrium is a form of spectacle in which mobile lines and the mass of space traced out by them interplay - the structural building of space. Line draws space:
- the spectacle of the measure of inside to outside,
physical and psychological balance (understood in manifold
ways),
- the spectacles occurs in time - initiated by the spectator.
Following directly from the creative path I have traced out,
but begun leather, is the series "Spaces" - The cycle "Crystallization of space".
Space is determined physically and purposefully by the interference of lines
with the purpose of obtaining new psychological and aesthetic qualities.
"Spaces" show not only the inside but carry it to the person, the reflection
of whom are intensified with emotion.

In my creation, I give equal expression to my intellect, intuition, temperament, the sum of my experiences and the psychological state
in which I currently find myself. A successive, completed sculpture is the sum of my experiences and is a stag a on the road to a new, as yet unknown, domain and not a work straining for excellence and virtuosity.

"The space crystallization"....is a system of lines intersecting one another with a certain order and modifying the previously determined space both physically and in its use.
In other words, it is a shattering of space into smaller components “crystals" whose purpose is to achieve a new aesthetic and psychological state that acts on the conscious and the subconscious mind of observer.

A person following the picture created by the moving line experience the necessity of adjusting to the spatial situation producing motions of the body (bending, ducking or stepping around) which is a form of dance, simultaneously experiences
states that go beyond the boundaries of quotidian stereotypes, behavioral codes and habits.

The activity of space is a result of the meeting of the "entrancing energy" and the "extrinsic energy" imparted by the line to the space.

The intrinsic energy is everything that is characteristic of a given
space the architectonic idea behind it, its proportion, width, height,
length, the materials of which it is composed (concrete, metal, wood, plaster etc. audits function an office building church, a city square, landscape) and is the way that it commonly experienced by the observer.

In my works, line speaks with the qualities of the material from which the work is made, the picture which it creates (various ordering and geometry, chaos, concentrations, shattering, rhythms, contrasts, similarities, the relationship between filled and not filled space) and the shape of line (simple, wavy, vertical or inclined). This is the extrinsic energy.

The objective act's the material from which line is made whereas the "subjective act" oftentimes makes its activity and meaning the first felt. For example, wood which is light, warm, with light hues, and created by nature with her internal and external form, touches the aesthetic sense of observer. Metal, on the other hand, is cold, heavy, with could colors technological and difficult to turn touches rather anti-aesthetic sensibilities. Glass which is cold and heavy but clear in contact with light sometimes, even not visible, is not technological but mineral, satisfies the aesthetic sense but is unsettling due its fragility and sharp fragments (which are dangerous because they can cut).

"The space crystallization" proposes active space having as their purpose the ability to touch the basic universal sensitivities of person and to reveal cultural stereotypes (Polish-nests or Japanese-nests, or French-nests, or American-nests) and the psychological baggage, personal behavior codes and habits.

Ludwika Ogorzelec