The field of investigation, so universal but also so intimate, drives Lang to consider and therefore to use once again the sculptures of his late father artist Jirí Lang (1927–1996), with an approach to the sculpted figure that highlights the theme of the exhibition, which is the relationship between the model and its representation, between sculpture and space, between the art-making process and the artist. Aim of the artist is to create and show a whole range of figures which as duplicates draw life from the real model, wherefrom the creative process started to the formless and abstract mass of clay, through a series of sculpted figures that seem to return to the real original model. The author acts as a choreographer of figures in the space, as a sculptor or a surgeon that gives the sculpted figures a different shape. Naked Figures, Dressed Figurines is therefore an aesthetic experience and at the same time it is a keen re-evaluation of the humane figure, whether it is real or sculpted, whether it is an original or a copy, whether it comes from the artist or from his father. Lang urges the viewer not to perceive the works individually as a series of static figures, but rather as artworks that provoke a physical sensation and create an interplay between the viewer and the sculpture, in a sort of a continuous movement of the figures through the exhibition space.
In Lang’s works, the human figure has always been the main element around which the context revolves. The relationship between man and surrounding space, built or evoked through unsettling architectural modifications, and the relationship between man and time, through the ideal, and at times even factual, reference to the artworks of predecessor artists, find new life in research that investigates the relationship between man, as a sculpted figure, and the artist himself.