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It is known and recognized in historical analysis of human development that philosophers, creative writers, musical composers and, of course, visual artists have become the instrument of reconnaissance over the social structure of humanity. They are the sensitive seismograph in recognizing the tremor of an approaching new reality.
Life forms in nature imitate and redesign themselves through modification on a minute basis, in response to a changing environment... so does the human life form. Within such context, in time a formation of specific assignment-oriented units evolved in human settlements. Functionally, we could identify the main individual units as the Scout, the Processor, the Recorder, and the Caretaker. They all left their imprints in many a period of human existence. Thus, this very efficient and functional organization became an important link in the genetic makeup of our civilization.
Taking this into consideration, I find no conflict with deducing that, at the conclusion of our millennia, an artist, sculptor RASTO (R. Hlavina), came to be the Scout (as he, with most certainty, claims to be). Some thirty years ago, Rasto, by his given abilities and some coincidental happenings, was able to detect the approach of a new reality taking place in our life.
It may be that it all was triggered by his immigration to Canada in 1968 from socialist Czecho-Slovakia, by which he fully realized and experienced the existence of a duality in the social structure.
Rasto, in one of his early works done in Canada, coincidentally titled AWAKENING, observed a secondary formation of a figural expression within the main form. Thus as early as 1969, Rasto fully recognized the possibility of entering additional figural designs into the framework of a single expression.
This newly discovered duality, later defined as duoset, led him to search for the possibility of entering even more secondary expressions and thus multiply the representation in his works. This was the origin of a development which he identified and defined as the Multiple Sculpture (1972).
Rasto, inheriting an inquisitive mind, did not restrict his findings only to his art. He contemplated that if this multiplicity can exist in the work of art then it should be possible to identify it in other factions of reality. As a model, he decided to use his developing process of the Multiple Sculpture, in which many factors came to light.
During his search to express the multiplicity in his sculptures, he developed a number of expression techniques, of which some, in retrospective view, he found parallel to the development progress in arts to this day. These expression techniques under single observation, indeed, represented forms known as “styles”; but, as Rasto presented them in the context of the Multiple Sculpture, obviously the reasoning of “styles” becomes less convincing. These expression forms and techniques, in the light of reality, are the most important building block of the new structure—the Multiple Art (Rasto 1981).
The process of working from a single representation to the multiple stage was based on experimental individual application of these expression techniques. The dimensional quality of sculpture also invited speculation in the area of color coordination, change of light, objective or detailed view, as well as a change of position of observation, etc. In simple terms, under different conditions a different figural expression can be identified in a particular sculpture or work of art (Multiple Art).
The process of creating work in the Multiple Sculpture manner, once concluded, initiates in the observer the action of acknowledging this multiplication which is then deposited into the subconscious of the mind. The mind, being exposed to a repeated encounter with the multiplicity, will evolve and develop an oscillating process with the ability to be applied to the creative (problem solving) or observing (information processing) practice in any area of our activity (Art as an educational tool).
The process of acknowledging and projecting all known and available aspects of a given reality Rasto identified as the Multiple Understanding.
The Multiple understanding, once absorbed and structured within the mind, develops also a secondary process of further expanding search for all additional possibilities, associated and non-associated options, with assumed or fictional factors, and, thus will evolve into a new process of thought—the Multiple Thought (defined, Rasto 1987).
It is not a cliché to realize that we are entering a new era of civilization. Our concern with the global perspective of economy, ecology, environment, sociological climate, whether in America, Europe or elsewhere, brings us closer to the realization of the obscure multiplicity. More and more, we come to accept the idea that humanity is just a small part of a whole complex (though humanity is known to be the most aggressive, influential and expansive). With the progress of our civilization, we the human race have positioned ourselves into the role of the Custodians of the planet Earth. Therefore, we have to also take the responsibility attached to such a position. The once understood and practiced theory of “what is good for us is good for all” is changing the us into the view of the whole entity.
Rasto insists that the customary one point of view, with only elaboration based on it, is already presenting us with deficiencies and may not be any more feasible and justified in application to this stage of development of our civilization. In the recognition of the existing multiplicity we will adjust to it with our ingenuity of thought—The Multiple Thought.
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