FROM WORDS TO FORM: THE ARTISTIC AND CREATIVE WORLD OF OLEH LYSHEHA
DOI:
https://doi.org/10.32782/2415-8151.2025.38.1.26Keywords:
sculpture, carving, wood, poetry, artist, ecopoetics, elements, immanent participationAbstract
Article examines the artistic work, in particular the sculptural and poetic work of O. Lysheha, and reveals the interconnection between the author’s literary and artistic worlds. Purpose.The aim of the article is to explore the interpenetration of literature and sculpture in Oleg Lysheha’s artistic worldview. To analyse his approach to material and the creative process as key elements of artistic practice. The work examines the interaction of word and form and the poetic expression of plastic images. Methodology. To achieve the set goal, a comprehensive, phenomenological method, structural-systemic analysis, and an interdisciplinary approach integrating philosophical-aesthetic and literary methods were used. Research results. The study formulated a number of results concerning the poetics and philosophy of creation of Oleg Lysheha. For the first time, the existence of a consistent model of creation in Lysheha’s poetics was systematised and substantiated. It has been proven that the final result (text/object) is a direct, logical consequence of the organic synergy of the four previous links – Element, Material, Process, Artistic Artefact. It has been proven that the creative act in Lysheha is not a representation, but an immanent participation (direct presence) of the artist in the natural process. Lysheha acts not as a creator, but as a mediator who allows the elements to materialise in words. Oleg Lysheha’s work is classified as a phenomenon of material ontology in Ukrainian literature, which is an important philosophical and artistic source for contemporary eco-poetry. The scientific novelty of the research lies in the introduction of new methodological approaches to the analysis of Oleg Lysheha’s poetics: a four-component structural model for analysing Lysheha’s creative process has been developed and applied, allowing for the first systematic analysis and substantiation of the interconnection between the element, material, process and final form. The category of ‘immanent participation’ has been introduced into scientific circulation and theoretically substantiated as a key principle of the artist’s creative method. Practical relevance. The results of the research have practical potential for the academic sphere and artistic practice. The developed methodological model can serve as a basis for further interdisciplinary research on ecopoetics, material culture, and the interaction of words and images in the works of other Ukrainian and world artists.
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