The Walking Sisters

After the Second World War, many countries of Europe launched important rebuilding operations. In the Netherlands, this movement towards a better future developed design and architecture, already nurtured by the Surrealist and Abstract movements before the war. The predominance of design influenced sculpture, to which it is very close, which enabled the modernist movement to grow rapidly in the Low Countries. Following the evolution of design, Dutch and Flemish sculpture created simpler, purer forms and shapes, placing themselves between figuration and abstraction. These three sisters represented by Elia Ajolfi are more the evokation of an idea, of a concept of women from the early 20th century than a true representation of women from the 1960s. These impersonal forms embody a past that is fading away, brutally pushed away by two World Wars.第二次世界大战结束后，欧洲诸多国家启动了至关重要的战后重建工作。在荷兰，这场奔赴更美好未来的运动推动了设计与建筑领域的发展，而该领域早在战前便已被超现实主义（Surrealist）与抽象主义（Abstract）思潮所孕育滋养。 设计的主导地位对与之联系紧密的雕塑领域产生了深远影响，这也助力现代主义运动在低地国家（Low Countries）迅速崛起。伴随设计的演进，荷兰与佛兰德斯的雕塑作品创造出更为简洁纯粹的形式与造型，介于具象与抽象之间。 由埃利亚·阿约尔菲（Elia Ajolfi）所创作的这三位女性形象，与其说是对20世纪60年代女性的真实刻画，不如说是对20世纪早期女性观念的唤起。这些不带个人特质的造型，具象了那段被两次世界大战粗暴抛离、正逐渐消逝的过往。