The Light Social Sculpture Series (2015–2025) marks a profound departure from the static monumentalism of the twentieth century, pivoting instead toward a "translatoria" of lived experience. Central to this decade-long inquiry is the concept of the "situational fixer"—a monochromatic, portable intervention that functions as both an aesthetic signifier and a utilitarian vessel. Drawing upon the peripatetic legacies of Daniel Buren and the unauthorized disruptions of André Cadere, the series refines the role of the artist from a creator of objects to a navigator of contexts. These sculptures, often manifesting as vibrant yellow or blue bags, act as satellites of the artist’s own corporeal presence, navigating the "invisible-visible" friction of the urban fabric. By integrating the apparatus of modern life—the camera, the mobile phone, the archive—into the fabric of the artwork itself, the series subverts the traditional "dead nature" of the gallery fetish. It proposes instead a functional art that breathes within the negotiation of affection, transforming the mundane act of transit into a rigorous philosophical inquiry into the nature of presence and memory. In the psychogeographic theater of the Prague Quadrennial and beyond, the series operates through a dialectic of "unstable installation." The artist’s trajectory through the city—moving from the sanitized environment of a diplomatic reception to the industrial peripheries of a Vietnamese market—repositions the "situational fixer" as a tool for tectonic awareness. Here, the sculpture is "attached" to the body, a constant companion that anchors the subject against the dissociative speed of global tourism and digital saturation. This is not performance for an audience, but a "naturalized" ritual of engagement that seeks a Beckettian essence: the word, the idea, the fundamental resonance of a site. The fixers do not merely occupy space; they "fix" the moment, providing a chromatic counterpoint to the gray architecture of late-communism and the hyper-commercialized centers of the West. Through this lens, the Light Social Sculpture becomes a site of resistance, reclaiming the public square through a sustained state of "being-as-intervention" where the art is inseparable from the movement of the artist through the world.
The materiality of the series—ranging from "flatty cement pyramids" to the ephemeral soundscapes of urban sound exploration—bridges the gap between the austerity of Minimalism and the sensory immediacy of Neo-Dadaism. By referencing the floor sculptures of Carl Andre while simultaneously engaging in the visceral act of eating from a "survival kit" installation, the work collapses the distance between intellectual rigor and biological necessity. The concept of "translatoria" is vital here; the artwork is in a constant state of translation between languages, geographies, and states of being. Whether it is the shock of cold water in a rural performance or the "cherry-rain" in the Malá Strana slopes, the work emphasizes the "beauty of days" as the primary medium. The "situational fixers" serve as the visual shorthand for this collapse, acting as a hybrid of art and language that mirrors the complexity of modern identity. The series argues that the true locus of the contemporary masterpiece is not found in the permanence of the object, but in the fluid, affective relationships generated between bodies, objects, and the landscapes they inhabit. Ultimately, the decade culminating in 2025 asserts that the purpose of art is an ongoing "negotiation of affection" and a "constant collaboration with other bodies." The Light Social Sculpture Series concludes not with a final resolution, but as a "game that remains open," a testament to the enduring power of the chromatic intervention to reframe our reality. These works function as a trigger for a broader ritual of connectivity, stripping the art object of its institutional distance to become a functional partner in the daily pursuit of meaning. As the artist performs in green, white, purple, and black, the "yellow satellite" remains a steadfast point of reference—a beacon of intentionality in an increasingly fragmented global landscape. The series successfully recontextualizes the social sculpture as a necessary, portable tool for navigating the complexities of the twenty-first century, asserting that art is most potent when it is carried, used, and lived. Through this radical integration of art and life, the work achieves a state of "freshness," fixing the fleeting moments of existence into a coherent, vibrant tapestry of sound, color, and form.
SOCIOPLASTICS
