to the challenge of technology and modernism, by the young artist. Apart from information technology, especially the technology of plastics production is undergoing a rapid stage of development; over 60.000 different types of plastics have already been produced! This is paving the way for new possibilities, and is already strongly influencing our day-to-day lives.

An artist is also intrigued to be a pioneer. Unless development is accompanied by ethical responsibilities, as well as a vision of a humane future, we are facing the threat of unleashing uncontrollable trends and catastrophes - they too have to be seen and shown in time.

The sensitive timelessness of marble

Marble has fascinated Bjorn Weckstrom already due to the weight of its historic traditions. Furthermore, living in Italy has naturally brought the material closer. Mr. Weckstrom describes marble as a sympathetic material, which is easy to shape and control. It is pure and yielding, alluring -almost therapeutic - to work. The sensitivity requires unabated and sharp attention.

The stone is characterised by closed, almost massive shapes, that maintain the inner charge and resonance of the material. "The difference between rightly and wrongly treated stone is like the difference between a dead and a live animal.

A good sculpture is like a sleeping moose - a bad one is like a slaughtered animal", Mr. Weckstrom has argued.

It is natural to let the material work according to conditions of its own. The grey marble, frequently used by Mr. Weckstrom, contains a multitude of non-homogenous areas of different shades, stripes etc., ranging from white shades to very dark. The workability of the material leads into the realms of abstraction, that occasionally - often surprisingly - reminds the artist of stones and cliffs in the Finnish archipelago, ground down by water and ice.

Like many Finnish artists, Mr. Weckstrom has experienced the presence of Nordic nature very strongly, hence finding its influence penetrating his artistic expression even in Italy. The nature of marble has also been luring the artist to explore a stylistic and generous form of expression, as classic simplification.

Mr. Weckstrom has been particularly interested in the human figure - especially in the forms of head and face. One could presume that the "quickly" shaped sculptures in marble, have also worked as a relaxing counterbalance to the large bronze sculptures, that demand extensive time and thinking before completion.

Classic beauty appeals in such works as "Sleeping", "Dualism", and "Arm". Their inward nature is charged with intimacy. The proud, taciturn stone radiates enigmatic eternalness - the far superior life expectancy of the material, in comparison to Man, is a humbling reminder of one's mortality.