Jözef's sculpture explores the relationship between the second, third and fourth dimensions. He is interested in the simultaneous viewing of the subject from more than one angle at a time. A flat two-dimensional form is used to minimize a part of a sculpture or to show its basic shape. Three-dimensional sculpting is used on the same work to show greater importance and emphasize a particular part. The sculpture may also be bent or twisted, showing the viewer more than one angle. Unlike "Cubism", he is not interested in immobilizing angles. The illustration of Pablo Picasso's "Mandolin" shown below freezes various angles of the instrument. Jözef wants to encourage an audience to "look around the corner." Light and the participation of the viewer, gives the artist's work its fourth dimension.

"MANDOLIN" 1914© Picasso

"DRESS" 1996© Jözef

The "plaster" pieces of his work are actually made from a plastic polymer coating that is formed over a laminated cardboard and sheet metal base. This method of sculpting has given the Jözef the flexibility to produce highly refined work. Repeatedly shellacking or varnishing, wet sanding and waxing the sculpture further strengthens and refines his sculpture. The "plasters" remain unique and serve as the originals for his limited edition castings in bronze.

"SWIMMER" maquette 1995© - plaster 8" x 37" x 15"

"SWIMMER" 2001© - bronze 7'

"Sculptor Jözef Sumichrast cultivates ideas through his unique blueprint" drawing. He shares his life's experiences by visually expressing them. He works figuratively and yet does not consider himself to be a realist but more of an abstract sculptor. When I asked him if he thought he was an abstract expressionist, he said:

"Arshile Gorky hanged himself. Jackson Pollock got drunk and drove into a tree. Terry Kitchen shot himself in the mouth and Mark Rothko slashed himself to death with a kitchen knife. Hummm, no, no, I'm not an abstract expressionist."

"Lady of Misunderstanding" 1997/98

"Sumichrast's art is a unique and personal statement. A statement that is somehow both shared and guarded. He wants to tell us everything and keep it a secret at the same time. After having his legs surgically reattached a year ago, the color red began to appear in his sculpture. This was followed by the addition cut marks in his work. Various metal fasteners, such as staples, screws and bolts, which were previously hidden, are now embellished. Current projects such as, "Large Narrow Horse", and "Narrow Horses II", have sections of the anatomy permanently removed. The viewer can understand the connection. However, there has never been an explanation for his surgery. There remains a mystery about the art and the artist."

Adrienne M. Golub, Art Papers, Tampa, Florida 2001

bronze casting   inspiration   home