The outcast

Due to the emotional verve of its forms the sculpture resembles a sketch in form. The articulateness of the form is fairly sufficient to conjure up the persuasive image of an outcast, a pariah, in a meaning that encompasses all possible strands. The composition features a combination of different phases of movements and gestures corresponding with different poses – from a capsized and tumbling position to, finally, a rising posture. Moving around the composition shows the viewer the various sides of the sculpture and, accordingly, reveals the changing emotional states of the individual depicted. Confusion is followed by fear, then hope, then anxiety, then resignation… Whatever the point of view, viewers clearly sense the unusualness, fortitude and inner stress of the outcast, indicating that this person is not just someone who fell to the floor or, say, became wounded or fell sick. The body language adds expressiveness to the image – the complex carriage of the head on an outstretched neck, nearly motionless legs, the placement of the long hands with barely shaped arms. Overall, the details (clothes, accessories) are treated unemphatically. The features of the face gazing into space are likewise indistinct, and the person’s “obliterated” individuality slightly resembles a mask - but not a mask that conceals personality, rather one that completely depersonalizes the image.


Brief annotations to the image

OUTCAST, or exile, outlaw, pariah, derelict, deviate. The category defined by an individual’s place in the system of interpersonal relations. However, within religious conceptual frameworks, the notion of the “outcast” is often connected to a person’s chosenness and righteousness (Noah, Abraham, Sarah, Isaac, Moses, Samuel, and others.). It was not an accident that the category of outcasts included God’s fools, sometimes canonised after death. Moreover, it was told that “neither doth God respect [any] person: yet doth he devise means, that his banished be not expelled from him” (2 Samuel, 14:14).