“There is always an image in my head, which I can and can’t figure out; I can and can’t see or observe,” explains the artists and sculptor, Costas Kyriacou. “I consider that the ultimate creation for each and every instance that I want to create something; I try to reach it through visualising it before sleeping and sketching. Some times I can capture it directly, some other not. The trophy was different; an image that was difficult to capture as an image due to the distance between myself and the Architecture+ team; isolated from every element that could show me the way to the ultimate image,” he adds when describing a small part of the journey to the design of the Awards trophy; a journey where, in some parts he travelled alone, in others accompanied. And who knew, that along this journey, a provocative conversation between the artist and the organisers of the Awards would lead to a heated debate that, in it would reveal tools to allow the artist to reach out and capture that image – the image that would finally personify the mission of the Awards.

‘Aspiration of a New World’ was the statement delivered to the Cypriot born artist; selected by the Architecture+ Awards team after receiving his proposal for a feature in the Arts section of the magazine, Architecture+. Born to traditional goldsmiths, he was raised in a workshop of handmade chains, where the tools in the workshop became his childhood toys, helping him to escape into an imaginative world. Loner and a distant child, Costas drifted to the arts as he grew older yet the reality of life would pull him into different directions. Following in his parents’ footsteps, he studied Jewellery design and stone setting in Florence. He never studied sculpture or art but like his own creative world in the workshop, Costas found his art in his Jewellery; each creation became a collection of micro-sculptures; an attempt to balance career and passion. “After much discussion with established sculptors, I realised that art and sculpture is never a career option, better still, career is not an option for art; art is a way of thinking and feeling. If art becomes career, then It’s just a career,” he opines. Costas’ creations of micro sculptures has acquired celebratory status with exhibition in select prestigious events including the Jewellery Collection of the summer Millennium Haute Couture Show for Yves Saint Laurent in Paris, Jewellery Collection for the Miss Universe Fashion Show in Cyprus, and the Jewellery Collection for L’Oreal Haute Coiffure Show in Paris, Athens, and Thessalonica

THAT MOMENT IN TIME

Challenged by the Awards team and his own demons, Costas had captured an image exactly at the moment when a huge change was happening in the world. The capture of it establishes its space in eternity.

With a strong conviction in purity of every creation, Costas’ sculpture would be pure and consequent to what it already represented; a circular journey of what it has been in the future, long before its creation. “I try to become the situation or the person or the event, for which the piece is designed,” he explains, “I try to be that at least for a moment and use all means and senses I know, to achieve this; something that can not be repeated. Some characteristics though, remain the same on every piece, and this lasts for as long as I remain the same person. These characteristics are my ‘fingerprints’ on the piece, sometimes visible some others not.” Costas had immortalised that one moment in is own inimitable style.

THE HUMAN AND THE WALL

The Architecture+ Awards sculpture is a unity of two contrasting elements: the wall and the human figure. The wall signifies a situation; an obstacle in the flow of life and evolution. The rear of the wall is rough in texture and vertical (firm) in form, representing a situation now past. While the front side of the wall undulates with a smooth polished finish; here a future situation is represented; a point of reference in time is the moment of the change. Everything seems liquid, changeable, and easy; limits are broken and freedom of expression and creation takes place.

The second element is symbolic of a human spirit, one that always desired the change; always aspired to be free to move. The surface is sanded so it looks soft and transparent expressing the flexibility of the spirit when it arrives at its goal. The form of the figure is a harmonic combination of power and sensibility, dynamic yet simple; a reflection of the two main characteristics of the human spirit.

The figure rests inclined and pushes upward in the direction of creative evolution. Hands are stretched and head high it symbolises hope and aspiration, and knowledge of the goal. The ‘feet’ are lifted and not allowed to touch the ground; thus the ‘human’ is detached from physical space and avoids the risk of being materialised. The void between the hands, in front of the head, symbolises the (always expected) unexpected that has to be elaborated and treated properly so it can occur in the global human spirit.

Despite the tension of the speed and movement encapsulated by the shape of the body, the curves convey a message of tranquillity, reinforcing that the whole movement is natural. The message is clear, only a pure spirit could achieve this change with such ease.

THE ART OF EXISTENCE; THE ACT OF SURVIVAL

The ‘human’ passes from the one state (side) of the wall, which is firm and rough to the other which is liquid and smooth in a reflection of the instant change that passes in time as eternal; it lasts forever, even though it is only an instant.

“It demonstrates that the human spirit is powerful enough to pass through every situation and change; it is sensitive and invisible and achieves this without even notice. But, there is always a price to pay; in that moment of change, a part of us becomes lost, and remains as a scar to serve as a reminder; helping the human spirit to become wiser. At the same time however, it steals and takes with it a piece of the situation that changes and incorporates it; a journey into evolution as a human spirit,” explains Costas.

The above is clearly expressed through the way that the ‘human’ and the ‘wall’ are connected. One steals from the other, so they can merge, co-exist for an instant and move on. “It’s a sensitive moment between ‘human spirit’ and ‘change’.

THE MATERIAL BEARS MORE

The chosen material, bronze is a genuine metal that is found close to the earth’s nucleus where purity of energy is accumulated; over millions of years it has accrued energy, enough to launch it in the form of everything the trophy’s image represents.

“I am attracted by its warm colour; warm enough to transfer vitality to someone’s eyes and not too hot to burn aspects of the overall concept. Charmed by its ability to change on the surface through time, a change often referred to as ‘rust’ or ‘oxidation’. But, it is this change that makes it ‘wiser’ and mature through its experience with oxygen, i.e. life,” comments the artist.

Hence, the ‘wall’ surface is brown patina. This colour is also a metaphor for the earth, symbolising a natural evolution of a situation; stillness in time and a situation that must change. On the other hand, the human figure is in the natural colour of bronze, not varnished; thus the Awards sculpture keeps breathing silently, becoming more mature in time as does the winner of the Award.

“I cook at home but I never use recipes. My friends are always excited. Could you say that the trophy is symmetrical or asymmetrical and be absolutely sure about that? I can’t do that. I could say it’s both symmetrical and asymmetrical though. I consider oxymoron the delicate balance between love and hate, knowledge and ignorance, reaching the ultimate speed through stillness, magical,” concludes Costas. Text: Architecture+; images: Costas Kyriacou