MARY MAGDALENE

At the beginning of the entire process, I im-mersed myself in books and the Bible, trying to find as much information as possible. Together with the study of the history of Mary Magda-lene, I study and reflect on the context reasons for her portrayal began to emerge. Through this approach, I created a small me-mento that I keep in my hand. It constantly reminds me to think about the rightness of my decisions. I began with a small sketch made of black wax. I left it in the middle of my work table and walked around it for weeks without any intervention. In the studio, I created several more sketches and models. I felt something was still missing. I stood back and looked at them for a long time. I looked at the small wax model and realized one thing — it lacked self-confidence. The self-confidence of a person who can proudly carry his own cross.

Therefore, I focused on the tilt of the head and the gesture of the hand create a self-as-sured posture, as steady as a century-old oak tree deeply rooted in ground rooted firmly as faith in Christ throughout our history. Based on these conclusions, I arrived at my final sketch. I focused on firm and confident stance. The figure of Mary Magdalene is also gently veiled in drapery. The work with drapery is very important. It complements the body's form and completes the unity of the object." "I would compare the human figure to trees — the branches are the hands of trees. The roots of trees are connected to the ground just as feet are when walking upon it. I spend a lot of time observing nature and trying to discover connections. Views in the landscape are unique and never repeating, just like the human figure. The same view never occurs twice."