THE IMAGE OF A FEMALE FIGURE IN GARDEN AND PARK SCULPTURE

Abstract

The article examines contemporary sculpture within the garden and park environment through the example of Adrian Balog’s works «Mavka», «Evening», and «Rain», which represent distinct periods of the artist’s creative development. The study traces the formation of the author’s individual style and provides an art-critical analysis of the selected works. Particular attention is given to the evolution and transformation of figurative garden and park sculpture in the representation of the female image. The research methodology includes: an art-historical approach, through which the works are analyzed in terms of symbolism, compositional and technical solutions, form and plasticity, stylistic synthesis, and the incorporation of decorative elements drawn from Ukrainian mythology and literature; a systematic approach – which situates the sculptor’s works within the broader context of park design as components of an integrated system of interrelated elements; an analytical method – involving a comprehensive and detailed examination of the three sculptures through their division into conditional structural components for the purpose of in-depth analysis – considering the interaction of artistic style and content via elements, symbolism, plasticity, material texture, and the author’s stylistic techniques; a method of synthesis – which demonstrates the significance of these works in shaping the historical development and transformation of garden and park sculpture as part of a unified spatial system; and a contextual analysis – which identifies key artistic and sculptural aspects of the female image in conjunction with conceptual ideas – specifically, the integration of canonical images of classical art with contemporary compositional interpretations expressed through the technical language of visual art, as well as the appropriation of symbolic plant motifs. The scientific novelty of the study lies in the comprehensive analysis of Adrian Balog’s works, their thematic content and sculptural typology; in addressing the issue of the female figurative image in garden and park sculpture; and in highlighting the problem of the lack of critical scholarly review concerning figurative and plastic solutions in the works of contemporary artists.
Conclusions. The image of the woman occupies a special place in art and is among the earliest subjects in sculpture. This theme remains highly relevant today and continues to offer inexhaustible potential for research from both sculptural and art-historical perspectives. Artists draw upon this image from the history of art, engaging with classical forms – from antiquity to their transformations within neo-modernist practices. The identified tendencies and interpretative approaches to the female image, developed by contemporary artists, enable the formulation of generalized conclusions. It is important to note that the analysis of modern authorial approaches to the interpretation of femininity has expanded the scope of this research. The topic of this article provides a foundation for further art-historical inquiry not only into the work of the Ukrainian sculptor Adrian Balog, but also into the broader study of contemporary artists engaged in creating sculptures for garden and park environments.