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emblematic work of the day, is of special importanee for a number of reasons.
In the sculptural interpretation of this motive, Luketić uses ready-made and
found objects (a fuel tank and wire mesh), which he treats by welding and by
adding tiny iron wires, thus producing the effect of a thick shell of exaggerated
volume. Both procedures: the use of found objects and the welding process,
will become some of the main features of Luketies sculpture, not only the
one which belongs to the period of Art Informel. The use of a found object
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(objet trouve) will alrnost remain his life-long sculptural preoccupation and a
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constituent part of his entire creative act.
Luketies interest in structurality is particularly excited by found car
radiators. These surfaces with an exact structure, featuring evenly arranged
fins, reveal to him the attractiveness of a tactile texture, making him feel
an urge for new sculptural interventions. Even more so for the fact that
radiators originally had a utilitarian function and now they were to undergo
intervention in order for them to lose their original associativity and acquire a
new kind of sculptural rhetoric. And this new rhetoric speaks in the language
of existential philosophy, since to Luketić, a car radiator is a found object
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which, as such, has a far more powerful and more comprehensive symbolic
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meanings, in the sense that it has the character of a discarded, worn out,
worthless thing whose existence and decay provoke artistic imagination.
Thus, the Informel idea of nothingness and existential philosophical views
call for a new language of creative action: with the expressive and aggressive
destruction of the ready-made form and its established structural order, the
self-sufficiency of the found object is negated while its existence gains a new
aesthetic and contextual naeaning within the above-rnentioned thought
process. With direct action, such as cutting or burning the pressed surfaces
of the radiator, with the use of acids which eat into the body and the surface
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of the obj ect, Luketić deforms its "anatomy", thus producing dramatic and
convincing expressions of creative tension and emotional charge; he gets even
with the material and imprints into it a "deeply tragie feeling, so present in
Informel" (Z. Maković).
His stay at the sculpture symposium in the Ravne na Koroskem
Steelworks in Slovenia in 1964 is rightfiilly emphasized as one of the key
Stevan Luketić

Skulptura
LLS YXDVIII/80, 1980.
the new material — stainless steel, which was to pave the way for an entirely
Sculprure
new sculptural thinking and language which was to Iead him to monuments
LIS Y3tDVIII/80, 1980 moments in Luketić s sculpture. It was here that he had his first encounter with
and monumental sculptures in the decades to follow. At the same time,
kombinovani metali, pasta, boja Art Inforrnel, which becomes noticeable in the works created during his stay
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combined metals, paste, colour
however, the discovery of the new material heralds a break from the poetics of
90x66x15cm
vlasniftvo ownership:
in Ravne, primarily in a more controlled artistic gesture and work process.
Eleonora i Stefan Luketi.
I 109

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