Jerusalem Lives
In sculpture, a mainstream concept is that the figure is contained within the stone.
What a sculptor must do is remove the excess material to free the figure from its imprisonment.
The truth is that there is an infinity of figures contained within the stone. What a sculptor must truly do is choose the one that he wants to set free. Or rather, negate the others their right to existence.
Sculpture’s generative process is characterized by denial and destruction.
The figure emerging from the stone does so at the cost of the others. It’s a struggle that is driven by the desire of birth.
The spermatozoic race to the egg.
In holy cities, temples and shrines the opposite takes place. There, people physically interact with the sacred stones – they touch, embrace, kiss, and press themselves against them as if they desire to become one with them.
The figure is not waiting to be freed from the stone but actively wants to become part of it.
On a larger scale, the cities, temples and shrines, with their strong protective walls resemble the egg, attracting millions of people driven by the desire to penetrate it.
A return to the womb.
Death is the goal of life.
And stones are where many beliefs begin and end.
