Page 9 - 2020010301-导入后文本有的可以选择，有的不行-medeondoo@icloud.com

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earliest works, the series offemale figures The
Wiilers from 1955, which, despite figuration,
show a quite decisive attempt at breaking free
from academisrn and the formerly dominant
sculptural expression. This is seen in a more
radical approach to modelling itself, where
the compact form of a fern.le body with
outstretched arms is "enveloped" in a kind
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of uneven and porous shell, which changes
the character of the volume and creates the
illusion of dilapidation.
As early as the age ofsixteen, Luketić
joined the National Liberation Struggle
(NO3), remaining an active participant until
the end of war, It can be stated chat the war,
in a way, affected his forrnation as a person
and, as a severe trauma, has left an indelible
imprint on his worldview and attitude to life. This information is important
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Stevan LuIceti
Skulptura XII/82, 1982.
for a becter understanding of his future works created in subsequent years: the
ScuIpture XII182, 1982
sculptures from the Bunkers series made of wrought iron and characterized
kombinovani
by prorninent, sharp verticals with an emphasis on the spikes rnaking the
smola, boja
combined metals,
"skeleton" of the entire form. Holes cut on the dark, rust-covered iron surfaces
resin, colour
with spikes protruding through them, contribute to the effect of aggressive
15x 10 x 8 cm
and dramatic tension of the content of the sculpture itself, which, despite
privatno vlasnikvo
private ownerskip
being deprived of a conerete description, has very clear connotations of the
artist's experience of war. However, the greatest tension of the form is achieved
here by bonding (welding) concave iron plates through the openings of which
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spikes protrude, creating the illusion of full volume, where, in fact a terrible
and disturbing emptiness gapes created in the specific relationship between
the full and the empty, light and shadow. In these early non-figural works (The
Wan.ior, The Bunker, A Wounded Friend, 1959), the radicalization of form is
already at a very advanced stage, a greater and greater distance from all forrns
of associativeness is more and more obvious, while his later works are utterly
devoid of allusions to concrete objects even in the titles themselves as the
sculptures bear serial numbers.
In parallel with Luketies university education and his individual
appearance on the art scene, postwar Europe saw the emergence of one of
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the strongest visual art movernents of the 20th century Art InforrneU In the
1 The term "Art Informer (Uart Informel) was eoined by Michel Tapie in 1952, when he was writing about the
new art in the works by Wols, Dubuffet, Fautrier, Burri and others.

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