The system for hanging the relief on the wall is included in the price.
Metal construction with a black backside on which the relief is set is not included in price. This metal construction is intended for our easier presentation of relief in space.
Delivery of artwork
All the artworks of Josip Konta come with a certificate of authenticity issued by the artist himself and a certificate of authorship from the Croatian Society of Fine Artists.
The artist provides free shipping of his works to any location worldwide, enabling art lovers to take delivery of his works without any additional costs, thereby saving time.The sculptures are shipped in wooden crates custom-made for sculptures, which are certified for international shipping, ensuring the safety and protection of the artworks during transit to their new destination.
Josip Konta was born in Livno on May 18, 1946. He graduated from the Academy of Fine Arts in Zagreb in 1972 and completed his postgraduate studies as a collaborator in the master workshop of Professor Antun Augustinčić from 1972 to 1974.
Following three years (1974-1977) as the director of the Art Foundry at the Academy of Fine Arts in Zagreb, he has been living and working as an independent artist in Zagreb.
Analysis of the sculpture and possible meaning
Gates of Hell, also known as Festival of Alienation, is an impressive work from 1978 that strikingly portrays the complex and dramatic theme of human alienation and social nonconformity. This bronze relief, created using Konta’s signature sculptural technique, explores the deep emotional and psychological agony that people experience, even when surrounded by loved ones.
Konta brings these feelings of alienation and tension to life through dynamic and expressive forms, which simultaneously depict the loss and suffering of the characters through their various emotional states. The artist employs strong contrasts and textures to emphasize the emotional weight of this scene while introducing a disturbing sense of dissonance and instability.
With their carefully coordinated positions and movements, the labyrinth of human figures strikingly creates the illusion of ongoing struggle and internal conflict. Their intertwined bodies depict a tragic game of alienation, where closeness and distance coexist simultaneously. Each character in this work carries a kind of burden – emotional, psychological, and inevitably physical – further emphasizing an inability to adapt to the surrounding world. Konta successfully conveys universal feelings of anxiety and isolation that permeate human existence, underscoring the need for understanding, compassion, and connection.The Gates of Hell shows that Josip Konta has crafted a powerful visual and emotional narrative that unmistakably points to the complexity of human experience and alienation. This impressive relief not only demonstrates Konta’s artistic virtuosity but also invites viewers to reflect on our roles in creating and overcoming societal alienation.
Josip Konta’s sculptural works reflect the artist’s deep fascination with themes of alienation, various states of the human spirit, and the individual’s position in society. Through his sculptures, Konta explores the complexity of human nature and the internal conflicts that accompany contemporary society.
His sculptural technique includes voids and irregularities in modeling, which are closely tied to the concept of negative space, further emphasizing the importance of the relationship between form and void in his works.
Konta uses negative space to achieve a specific aesthetic and convey a message in his works. The voids and irregularities in the sculptures symbolize feelings of alienation, emotional emptiness, or a lack of communication, further reinforcing his explored themes. The horse in Konta’s sculptural works often symbolizes humanity’s ideal reflection – that sought-after, better part of us that is difficult, and sometimes impossible, to achieve. The artist uses this motif to underscore the necessity of introspection for every individual.
Notably, the artist supports complete interpretive freedom for viewers of his sculptures, acknowledging that each interpretation of the work is subject to each individual’s personal experience based on their life experiences and understanding of the world.