Page 44 - Studio International - April 1965

determined order. More recently, certain abstract
sculptures have been made up of volumes assembled
according to an idea, proportions, positions on the
horizontal plane and those on the vertical plane : these
are the composition. This is mainly true of large works,
but works of a smaller size can also reveal a com-
plexity governed by the laws of composition. This was
the case with the first metal sculptures of Sklavos ; and
when, in Canada, he divides each of the surfaces of a
relief into unequal parts by means of a linear bas-relief,
and when he places this on a parallelepiped the pro-
portions of which have been carefully determined, there
is no doubt that in such cases we are justified in using
the term 'composition'.
On the other hand, there are principles which apply to
the very shape of the work (i.e. work carried out on the
stone without the help of a previously finished model).
The first of these principles is, whatever the subject or
the theme that the artist intends to take, a respect for the
beauty and the proportions of the initial block of wood
or stone. Sklavos has taken this principle so far that
most of his small and average size pieces remain
blocks, and retain the original pattern, with little
changed. In others it is possible to discern a composi-
tion. In fact, Sklavos composes his work by dividing it
according to the salient lines. For if these have an
intrinsic value and form a drawing in space, they also
constitute the line of separation of the cavities that are
the very heart of the work. In this way Sklavos initiates
a plastic dialogue between projections and cavities ;
this is a negative-positive conflict, and sometimes it is
the very space in the work that wins in this battle by
virtue of its power to fascinate and its definite seizing

of the spectator's attention.
But can one speak of composition when it is more
precisely a question of the internal organisation of
space? Note also that this internal organisation is
given a vigorous and regular rhythm ; nevertheless the
equalities between the cavities occur without any
monotony. Far from that—thanks to the genius of
Sklavos, he is able to give the spectator a powerful
impression of harmony. But this is nothing like the
admittedly effective multiplication of the honeycomb.
If one might venture a more apt comparison, it would
rather be with the structure (and this is the exactly right
word) of some plants, which—when they dry—leave in
relief the pattern of their linear fibres.

This original aspect of Sklavos' work can also be seen
from his drawings. This effect of parallels—an effect
peculiar to this artist—is sometimes obtained by means
of a tool, a large stiff bristled brush, or by means of
scratches that would appear to have been made with a
finely toothed comb. But this is an exceptional process.
With the hardest or the most flexible of tools—brush or
pen—Sklavos always exhibits a sense of style. His soul
contains the directive plan by which his hand is guided
at all times, but his first care is always to structure the
surface of his drawing paper with the same care that he
uses in structuring the block of stone—by dividing it
into an infinity of cells. These cells multiply in rhyth-
mical lines; they endow the surface with life and allow

it that mysterious life which takes the soul and the
heart of the spectator by surprise.
These India ink drawings are works of art in them-
selves and they require no reference to the three-
dimensional work in order to be appreciated and
understood. They find their place upon the wall, and
reveal an interplay of matter that relies upon specific