The Upright Figure: A Testament to Human Resilience
In 1937-38, sculptor Astrid Noack created a standing female figure in plaster, a work that would go on to form the foundation for two of her most significant creations. The first, a tribute to the painter Anna Ancher, was unveiled in Skagen in August 1939. The second, Gothenburg Girl, was meticulously carved in teak wood between 1939 and 1941.
Through these sculptures, Noack explores a profound and universal concept: uprightness. The ability of a living being to stand upright, defying the pull of gravity, is nothing short of extraordinary. Her work captures this fundamental human quality with a striking simplicity that resonates deeply, reminding us of the resilience and strength inherent in the human form.
Unlike a column with uniform material consistency throughout its structure, the human body relies on a dynamic interplay of forces. The spirit orchestrates subtle micro-adjustments in the muscles, ensuring stability for the otherwise jointless skeleton. This delicate rhythm and the culmination of these movements serve as the central inspiration for Noack's sculptures.
What sets Noack apart is her ability to bring these subtle displacements remarkably close to the static, lifeless column. In contrast to the media landscape we are immersed in today—television, film, and video—where grand, dramatic movements dominate the screen, such as a football player suspended mid-air or an astronaut drifting weightlessly in space, Noack focuses on the nearly imperceptible. Her work captures the quiet, understated motions that often go unnoticed, offering a profound exploration of movement in its most delicate form.
Throughout history, the great civilizations—the Egyptians, the early Greeks, and the Gothic cultures—were deeply captivated by the concept of uprightness. They understood that the closer the upright form aligned with the column, the more vitality it symbolized. This principle often defines the early stages of a civilization, where structure and balance are seen as the essence of life.
In contrast, our modern culture equates life with magnitude and velocity. We operate under the belief that the greater the movement and the faster the pace, the more life is present. This shift reflects a fundamental change in how societies perceive energy, progress, and vitality over time.
Text by Hein Heinsen
Astrid Noack, Stående kvinde, ca. 1937, gips 146,5 x 46 x 54 cm
Astrid Noack, Fårehoved, ca. 1947, gips 34 x 23 x 39 cm