"digitalized david"

The sculptural expression of Henrikas Orakauskas is an open polemic with the changes of the past and the world, reversible and irreversible changes in different plastic planes. It is precisely the significant plastic changes that create new tensions and endless hesitations. The author turns this into a peculiarity of the duality of presentation and display. For the unstable flexibility of the world, the artificial elasticity of the world, the author presents an ironic elasticity, an improbable flexibility at the levels of alternative interactions. Unstable, offering new flexibility, new division, the world is full of ambiguities. The approach to ambiguities, to differences, requires an artistic initiative, an artistic response. The sculptor views these ambiguities as a creator-discoverer, a seekervisionary. Two different planes, two separated meanings, two non-connecting separations can be brought together in a certain way, creating the possibility of such plasticity. All of this flows into compositional movements, into the circulation of sculptural components. Duality is a polemic in the interactions of transparency, inside and outside, naturalness and artificiality. The invasive nature of the world turns everything into a provocative illumination-installation. The sculpture as an installation reveals the confusion of the inner, transparent side of the sculpture. The plastic exterior ironically ignores the inner status of the sculpture. Mixed plastic matter is a confusion of rapid changes, aesthetic techno sphere. Simultaneously, it is an extended polemic of part-whole, formation-combination. In the plastic sense, the confusion itself is the confusion of the visual-plastic approach. The sculpture installation is an ironic, heuristic polemic with endless innovationinstallation, with artificial integration. At the same time, it is a polemic against the oblivion of the holistic-plastic world.