nant topic remains the same: the genesis of light, of water, of 
the earth. Also the drawings, accompanying the now mature 
sculptural work, have to be seen in the same context. They 
form a relaxing compensation for the lengthy and also physi- 
cally strenuous efforts when creating the large statues. 
A journey to Greece in 1981 introduces — through the startling 
impression of landscapes, temples and changing intensity of 
light — a new phase of productivity: the antique world is turned 
into a sensuous experience to be translated into innovating 
forms. At the same time Malin returns to the theme of life's 
cycle. He gives it physical expression in the bud, the flower and 
the fruit. Still, these never appear as mere stylized pieces of 
mimicry, they rather impress by their symbolic vigour and orig- 
inality. But from piece to piece there are only minor variations; 
much more importance is attached to the nuances. And even if 
Malin's few, but nevertheless expressive nudes and portraits 
realized in the eighties bear more resemblance to nature, they 
still attract one's attention by their unusual intensity. The tech- 
nical competence and know-how as well as the depth of plastic 
perception allow Malin from now on to create some works in 
stone. They vary greatly, which leaves the impression that the 
artist experiments with different possibilities of sculptural 
shapes. The smaller bronze statues ofthis period show atend- 
ency that characterizes also Malin's sacral art: a predilection for 
geometrical forms such as squares, rectangles, pyramids and 
circular segments — all forms which point to numbers being the 
basic key to a possible explanation of the universe. 
Particularly the cube and the treatment of its faces — five of 
them are detached from the ground — has been fascinating 
Malin for the last two years. It is a new intellectual challenge that 
makes the sculptor continue his artistic studies. He now uses 
his father’s stucco spatula on plaster blocks, he moulds the 
material by hand, draws, cuts, scratches and scrapes, all in 
order to reveal further visual and spiritual qualities of the cube. 
Its discovery and transformation into a harmonious shape 
gives Georg Malin the possibility of dealing with matter, and 
both the forces and the laws of the world in a creative way. 
Barbara Malin 
185 
  
 
        

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