His sculptures prompt us to reflect on celestial systems, too. Man on the Moon and its female counterpart referencing the star, Proxima, allude to the powerful forces at play in the universe, and how insignificant, infinitesimal, we are in the context of the cosmos. Nevertheless, we are interfering with these systems, space now being a playground for billionaires, a planned superpower battlefield and the new frontier for mining exploration. “Is there is a price to be paid for this hubris?” these two works seem to ask.
Inspirations and references
In ancient times people had a deep respect for nature, underscored in Roman, Greek and Norse mythology. Many of Trzebinski’s pieces reference this connection, having the demeanour of appalled deities. Some are modelled explicitly, like Poseidon, the god of the sea now reduced to near blindness, disembodied, clutching at his back in distraught pose. Others are more allusive, like the perfect, whole-bodied Faith, her arms extended as if surveying a creation, who could be Artemis, the Greek goddess of nature, looking down at mankind with bemusement.
More obliquely, Harmonia — skeletal but powerful and intent — reminds me of the Furies in Greek mythology, the winged goddesses of justice who sought vengeance in particular for family crimes. What price will we pay for our crimes against Mother Earth?