Krista Berga came to sculpture through drawing. For her, drawing is the conduit to intuition and an almost visceral engagement with the visible. When it is exploratory, drawing activates a deeply entrenched human need for externalising our relationship with all that is outside ourselves. Paleolithic art and the drawings of children testify to this capacity. In a way, drawing is more akin to sculpture than to painting; it has a tactile directness and response to form and surface.
Berga’s sensitivity to figurative form flows directly from a drawing practice that relies as much on denying the immediate as it does on seeking an essential dimension of her subject.
