WIND POWERED SCULPTURES
Wind as an energy source is widely used in devices such as a wind turbines, or sailboats. Such devices essentially transform one type of energy into another.
What might be the meaning of a breeze for the observer the space where its energy through the arrangement of appropriate gear, makes us stop in the middle of time and space? A contemplation on nature in the broad meaning of the word, contemplation on the space, body, mind, or cosmos as the whole is the purpose of these projects. I have forgotten about time not by accidentally, because contemplation is taming and even temporarily neutralizing the sense of time. What does this mean to neutralize the time? Is an ascertainment that nothing is having any special meaning? Or, that everything is gaining unexpectedly on its meaning? (We are speaking of course about the comprehensive grasping of the Sens, with a very large emotional charge). The leading idea of the project is a person standing in the face of experience of time and space as an elementary fact of life.
The word "form" may be misleading, because not form is important here but participation of the process like the passage of time, the experience of surrounding space, the energy of the wind, the sun and the like, namely the qualities, that from the beginning, were the part of art. Changes in nature are slow and non-dramatic, only exceptionally more impetuous events like tornadoes or earthquakes take place. Does not the equilibrium of nature, which we are a part of, make us feel like being balanced inside? On the other hand, we need deep refreshment of the mind so in my opinion that's the reason why some kind of paradox should be included in the project. An architectural or sculptural object as a dynamic, self-regulating organism, co-operating with nature. I intend to design the outdoor form in order to expose it to the influence of nature. Responsive sculpture or architecture in which there are several aspects to consider - a co-operation with nature can bring only advantages; an ethical one: we must care about the world, the resources of which are much smaller and more restricted than we have thought, and also a cognitive one: we get deeper knowledge about the environment we live in.
There is an option nowadays to treat design of outdoor projects no matter if they are more complicated systems or simple forms, as a self-regulating, co-operating and finally becoming similar in the manner of operation to nature's activities. Objects in space without unequivocal purpose powered by the wind, changing under the influence of the temperature or light, joining us with space in direct and more remote dimension.
ADAM KALINOWSKI 2002