You are in Sokolský ostrov, a large riverside park in the heart of České Budějovice. Wide paths cross open lawns, and trees line the edges of the space. Near one of these paths, set directly on the grass, stands a group of four sculptural objects – tall, light gray forms made from artistically bent industrial piping.
This installation is titled Industry Standard and was created by Arijel Štrukelj. Each sculpture is made from a single continuous pipe, shaped and manipulated into tall, vertical structures. The forms are abstract and curving – minimal yet expressive. Each stands at approximately 2 metres tall, just above head height for most viewers. In their widest sections, they measure about 1 metres across. The structures are light for their size, each weighing roughly 60 kilograms.
The sculptures are supported by metal bases that lie flat on the ground. These bases are trapezoidal in shape – an open frame with the front edge slightly wider than the back. Two of the sculptures are simpler in form and stand on two lower supports, while the third is more complex, branching into three supports.
The base of each sculpture rises in straight lines from the ground, like narrow poles or elongated needles. These lower sections are set at a slight angle, leaning gently away from the centre. At about waist height – roughly 1.2 metres up – the pipes begin to bend. From here, they twist, swell, narrow, and arc through the air in graceful, looping gestures.
The curves vary. Some bend gently like plant stems; others twist more dramatically, forming loops and half-circles. The effect is organic but not immediately recognisable. The pipes could remind you of vines, tendons, or even the looping paths of a rollercoaster. Some may think of intestines from a biology textbook. Others may see them as pure form – playful lines drawing themselves into space.
The material is smooth and uniformly painted in bright white. This snow-white colour strips away any industrial associations and invites viewers to focus purely on shape and movement. The finish is matte, without gloss or metallic shine, giving the sculptures a clean, sculptural presence.
The four sculptures are placed close together. Their lower bases are separated by a few meters, the upper parts extend in different directions. From some angles, the three forms seem to lean toward one another, as if in conversation.
This sculpture series uses metal pipes as the primary medium, embodying the transient nature of life—how everything flows in and out, constantly moving yet inevitably passing through an impermanent channel. The pipes, as a symbol of industry and utility, are both functional and metaphorical—suggesting the essential but fleeting passage of time, experiences, and existence.
By using metal pipes, the sculptures evoke the industrial age while underscoring life’s cyclical and fleeting qualities. This theme resonates through a variety of shapes, bends, and blockages in the pipes, reflecting the unpredictability of life’s flow. The simple yet powerful material—used in everything from plumbing to heavy machinery—becomes the perfect metaphor for both the strength and vulnerability inherent in existence. This interpretation focuses more on the idea of reconnection, not just with others, but with the very essence of humanity—our roots in nature, our shared human experience, and the ongoing need to return to these origins.