A sculptor's design depends entirely on his ability to register a response and draw a line. Sumichrast uses anatomical studies to construct layers of spatial time, sensation of movement, and gravity and curves in the space. His work is a mix of visionary perception, questioning and challenging the physics of the third-and fourth- dimensional space. His exploration searches dimensional planes and quantum interactions of energy. Movement comes alive.

There is no finality in an artist's early sketches. In Sumichrast's drawings there are elements of line making and draftsmanship, usually indicating a light weight structure is evident. His drawings are of space within a space; a continuous study of perspective with exacting geometric equations. He records a thought in real time and space -time by using intuitive visual perception and traditional drawing process. This is accomplished using an essential elemental instrument in his process, the pencil.
With Sumichrast, "Each new sculpture begins with a rough sketch, which he develops into a formal scale rendering with a constant horizon like architectural elevations and plan views."

I quote Jözef Sumichrast as he explained specifics of his work to me in his correspondence, When you look closely look at the drawings of 'Susan's Dance' you will see a red graph over the drawing. This is not really a graph, but a way that I can establish the horizontal and vertical planes of the figure's. 'Susan's Dance' has human figures that have a vertical spine. I am using the thought process to establish the figures position in space. I can curve them from their horizontal and vertical placements'. The curve is very important; wherever two lines meet, one is on top, and the other curves under it. The curve makes a 2 dimensional drawing, three dimensional.

Sumichrast's thoughts are in opposition to Matisse. This of course is the exact opposite way Matisse was thinking when he painted 'Dance.' He wanted to disregard everything that he learned about anatomy, and paint only from inspiration.

Sumichrast creates and works in a portal of intervention. He creates a tension and looseness between randomness of spatial time and spatial order. His work attempts to portray infinite lineal extensions, extending to a boundless spatiality. His drawing is a 'Conceptual Schema', a free assembly of structural logic in a quantum field. He uses intuitiveness in an aesthetic environment, searching for meaning within limitless dimensional relations.

Sumichrast's use of drawing is continual and undiluted in his sculpture. The work has strong concentrations on 'line and form'. The aesthetics of his sculpture has a mediator of spatial line that gives a sense of transience from plane elements to a dimensionality, of revolutionary forms in spatiality. His work is visual.

Kevin Young Mansfield
"Drawing as Process"
Victorian College of Arts
The University of Melbourne,
Victoria, Australia

Watch a behind the scenes look at Jözef Sumichrast's String Theory exhibit.
Directed and edited by Angie Carlson.