“As a sculptor, the concept of the string theory to describe the universe resonated with me. Steven Hawkins could not incorporate gravity into his ultimate equation because it reacted too slowly. The string theory arose from the concept that you have to think of gravity in at least nine or even up to eleven dimensions. It operates with open strings and closed strings which are comprised of gravitons. The idea of a circle with a fighting gravity inside it inspired me as a sculptural concept.
I have explored this concept digitally on computers as well as in my usual media of clay and crystal.”
Norwegian artist Bård Breivik imagines his sculptures as pure materials, released by all the classical sculptural issues, and accordingly he investigates on their actual form and pictorial quality. His point of view is focused on the relationship between mass and shape, the several stages from original to final form, the potential hidden in every single material: the main theme is the dialogue, the search of a perfect congruence between shape and form. Matters of substance, usually suggested in one series and kept in the others.
Breivik’s sculptures can be interpreted as the commentary of men-made structures, perceived as hollow casings around a volume, or merely as a recall of the artist’s experiences: they relate the exploration of basic forms, materials and necessities in different cultures. The aim is to test the very limit of a given material such as wood and stone, or plastic and bronze, in order to create a certain shape swinging between the human culture and its structures, and nature with its enchanting relationships.