The creation’s influence that is plasticizing The Oyo project to individual and social processes falls into the artistic category of social sculpture according to the definition of the „expanded field of art“ of the famous German artist Joseph Beuys (1921-1986). For him, „everyone was an artist“. He does not insinuate that everyone is a painter or sculptor, but he signifies that each one possesses creative powers that must be discerned and cultivated, the most important one being the offered possibility to Man to self-determination. Social sculpture is an interactive space in which the artist takes on the role of a catalyst for individual and social change. This work’s result is a piece of art that takes place in a space accessible to everyone, integrates all human beings into the process of creation and abolishes the separation of art and life. Since the period of Constructivism, „the total immersion of art in life“ (Aratov) was postulated. It is required to unite Art with life, so that Art is not limited to decoration, but that it acts on social processes by shaping and renewing them. It was at the latest, with the broadening of the notion of art by the German artist Joseph Beuys, that the social aspect of art became firmly rooted to the science of Art. According to Beuys, any human actions during which he encounters with his environment in a creative or formative form can be classified as „artistic“.

The classic relationship between the artist as „producer“ of his product „art“ and the container as „consumer“ is thus diluted. The container is part of the creative process and is conditioned by a certain degree. In the words of Joseph Beuys: „The workshop is between people“ The most important instrument of a socially engaged artist is himself as a human and social being. As a principal actor in the process of socialization, he reflects on his relationship with the world and becomes the backdrop for the present social or societal structure. Through the education of his perception and the extension of his intellectual and emotional resources he is able to grasp as much of reality as possible and thus can “create an active being with the power to respond [to it]” as C.G. Jung says. The purpose of social sculpture is to enable as many people as possible to become a self-determined and a reactive being through the cohabitation of sensitive perception, intellectual and emotional reflection. The Oyo Projects product is an interactive space. By decontextualizing elements of familiar reality, we unmask situations of dependence and individual interdependence and make visible the interconnections of thought, feeling and action. As a result, the old notions of reality are broken down into parts from which other concepts of reality are still composed. Consequently, intellectual and emotional reactions to the “aesthetic revelation of the condition of things” form the basis of a future world in the one that already exists materially: by deliberately apprehending them, thoughts and feelings become “invisible works of art” (Joseph Beuys) and are immaterial predecessors of reality. The artist takes on the role of a catalyst for individual and social change and the socially engaged art interactively influences social buildings. This work’s result is a piece of art, which takes place in a space accessible to everyone, which integrates all human beings in the process of creation and which abolishes the separation of Art and life.