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Wind Powered Sculptures
by Adam Kalinowski

Wind, as a source of energy, has long been harnessed in devices such as wind turbines or sailboats—tools that convert one form of energy into another. But what does a breeze mean for the observer in a space where its energy, through the configuration of gears and structures, invites us to pause—to stop in the middle of time and space? These projects are contemplations—on nature in its broadest sense, on space, the body, the mind, and the cosmos. Time is intentionally omitted from this consideration, as true contemplation is the taming—and even temporary suspension—of time itself. But what does it mean to "neutralize" time? Does it suggest that nothing holds meaning? Or rather, that everything suddenly acquires deeper, unexpected significance? Here, we speak of a comprehensive grasp of Sens—an emotionally charged awareness of existence. The essence of these sculptures lies in human presence—facing the elemental realities of time and space. The word form may mislead, because what matters here is not the object’s appearance, but its processual nature—its participation in time, in the changing light, the movement of the wind, the warmth of the sun. These qualities have always been part of art. Changes in nature are gradual and undramatic. Only rarely do they erupt into violence—tornadoes, earthquakes. Most often, nature’s balance offers us a sense of internal calm. Yet, at the same time, we long for a deep mental refreshment. That is why a certain paradox is central to these works: sculptural or architectural forms that function as dynamic, self-regulating organisms in cooperation with nature. These sculptures are designed to be exposed to natural forces—responsive, living structures that shift and evolve. There are multiple layers to their conception. Practically, working with nature brings only benefits. Ethically, we are compelled to care for a world whose resources are far more finite than we once believed. Cognitively, this approach fosters a deeper understanding of the environment in which we live. Today, we have the opportunity to view outdoor projects—whether complex systems or minimal forms—as self-regulating, adaptive structures that echo the operations of nature. These are objects without fixed function, powered by wind, transformed by temperature and light—connecting us with the physical and metaphysical dimensions of space.

2002