The experts agree that the sculpture today and all that we are ready to subsume under this notion, are in general crisis. Stahov or his work don't offer the solution of this crisis, but he seeks the solution for himself by returning to the traditional values of sculpture, that today many sculptors are ready to renounce: to this old, classic – or even past, as many would say – values of sculpture as a manual discipline; convinced that thousands of years old medium is not consumed to form, to the priority of processing of material, to the calssical construction and traditional modulation, tautness of mass, feeling for the palbable volumes and even traditional materials as bronze and terracotta, to the traditional means, procedures, metier, formal culture and conventional techniques and, finally, to the tradicionalistic sensibility, that is today equally legitimate line as any other orientation which we subsume under the notion of sculpture.
Stahov justifies this sculptural orientation of unradical and undestroyable gesture with his creative and investigative passion and, of course, aesthetic arguments: relevant realisations and his individual imprint. Stahov's sculpture is characterised by steady sculpting, explicit form, expressivness, archetypal coordinates, criteria of articulate archaic simplicity, originality, robust dialogue with matter, organic quality of form and rustic quality of structure, roughness of material, dealing with harsh physical laws of matter, hardness and coarseness, swelling, playfullness, sensuality, tactile quality, impression of dilapidation, lush nuances of iron dust, subtle play of light and shade, colour interventions, colouring of terracota and verdigirs of bronze in order to gain more transparency, cracks, peelings, decomposition, great dose of intimacy...
There are also the desire for immediacy ond capability of communication and dialogue with the receptor, the possibility to interpret most of the sculptures on mimetic level, the associative potential deriving from the very construction of the works, the narrative quality and symbolic locution, the understated rhetoric, mythology, anecdotal quality, irony, immersion and sinking into the world of fantasy and magic...
Considering Stahov's relationship with the sculptural and painting material, his fascination with texture and composition of the surface of material (smoothness and roughness) and its possibilities, pliancy and limitations, smoothness and delicacy of bronze or roughness of rusty iron and its resistance, we might say that he wants us to become aware of his romantic message about his work as a unique creation of his two hands against the anonymous, impersonal and mechanical artistic production charasteristic for the standardised world of today.