The aerodynamic interlude from earth to sky that once gave a formal breakthrough to Brancusi takes on a renewed quality in the sculpture of Ludvic.

While he studied with European artists, such as Karel Appel and Bram Bogart in painting, and Marino Marini in sculpture, Ludvic has proceeded to transcend the limits of his influences. This is what becomes startling apparent in his Rhapsody paintings and in his recent large-scale steel sculpture (which belong to the series called “Steel Jam Session”). In fact, the recent sculptures break free of the interlocking compression found in many of the early tool sculptures, thus giving a new sense of three-dimensional form. These new works are more related to the landscape and offer a vision of reality that renews our perception of light as it radiates through paintedsteel moiré patterns and augments our pleasure in seeing them in relation to the infinite desert sky. 

Ludvic functions indelibly as an abstract artist. He moves between painting and sculpture like a bird in flight. I borrow this wonderful phrase from a famous work by the Rumanian sculptor, Brancusi. The aerodynamic interlude from earth to sky that once gave a formal breakthrough to Brancusi takes on a renewed quality in the sculpture of Ludvic. While Ludvic’s spatial vocabulary reads differently — more
in the order of constructivism than volumetric form, closer to Nevelson than to Brancusi — there is still an ascendancy in Ludvic’s work that travels not so much directly upward as outward. His material intensity — now fraught with brilliant color – echoes the space of the desert landscape. It opens the horizon to a renewal of light, a shimmering complexity of forms that override one another through a kind of playful negation — a debate between material elements — that indulges optical and sensorial pleasure, inciting a sumptuous and startling luminosity.

(excerpt from the catalog essay by Robert C. Morgan Ph.D.)

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