In Filip Toth’s recent line of work, Imperishables: Sculpture and Paintings, he is rediscovering the most intensive method of experimenting with volume as the material grips and segments in a three-dimensional body in a clearly defined mass. However, in the course of the history of culture, this sensory approach has more often been replaced by an intellectual understanding of the form of well-known objects. Thought, content, and illustration suppressed form; the description replaced the understanding.

Filip’s sculptures are born out of a deeply personal iconology which resist interpretation in terms of simplistic symbolic equations. The major aim in creating his works is “to give to materials, such as metal and stone, a new identity – encoding messages of human emotion, solitude, and the inevitability of death within forms – all things that future generations will have to face as long as the planet Earth exists”.

The artist combines metal and stone forms, suggesting the frailty of human existence, or powerful monolithic shapes, tarnished by the patina of time, in an effort to indicate “visibly or invisibly” fragments of human existence.

This latest collection of sculptures visually examines the deep convictions of human experience. These emotions are often associated with struggle that we are all so familiar with. They are celebrated through simple abstract shapes and forms. The human figure is distorted to an elegant simple form creating tension and silent dialogue between the viewer and sculpture. The narrative of the characters contrasts with its hi-tech surface finish and colour further evoking their symbolism. They are all individual pieces and yet they share certain emotive and spiritual qualities that unite them all together.

Above all, Filip’s sculptures, project a sense of timelessness, a concept of fragments from the past located now between the past and the future – with all the sense of mystery, which this concept holds.