Artists: Tets Ohnari

I don't know whether you've noticed that, lately, objects that man crafts himself are on the verge of extinction. "Hand-made" objects, the results of man’s direct action upon matter, become an extremely niche, most of the time being catalogued as "handicraft". Artifacts are becoming as pure as ideas, created by machines that work impeccably, without error and without hesitation. The very same thing is happening with classical sculpture, which used to be defined as direct human action towards a natural substance. We do not talk of sculpture anymore, rather about installation, which has taken the three-dimensional artistic role sculpture used to have. Installation is a collage of ready-made industrial items. Seeing as how human artifacts are nowadays perfect, mass-produced, results of an idea, we could say that installation is really a post-Dadaistic collage of industrially-rectified ideas.

Tets Ohnari is an old-school sculptor presently working in Prague. Throughout his entire work, you can identify an oriental idea: no matter how much we wish to change the world, we can only modify its morphology. We are the hand immersed in water. We can only cause ripples, or make fleeting gestures in the eternal flow. Form is an intrusion of the human ego, an arbitrary decision on what is kept, and what is thrown away. Tets throws nothing away. The debris from his chisel, he recomposes in a continuous hourglass, an eternal Samsara of apparent destruction, followed by temporary reconstruction. Birth means rupture, or direct consequence of the presence of shadow. Within a vertical insectarium, Tets offers us a futuristic model of an era where man - spawn of shadow - moves egocentrically on a stone. This era is the Antropolitic era. It is nearing its end.