Objective: Contemporary expanded 3-d practice field that propels the development of ideas through the required form – object making/assemblage.
Grounded through a contemporary lens.
This art will be realised in three-dimension with the consideration of enviroment (site-specific) - a transformation of site or rather how the work is informed by the surroundings.
“Sculpture also raises important questions about the kinaesthetic
dimensions to viewing works of art and about the role of siting and
environment”
– Wood, J., Hulks, D., & Potts, A. (Eds.). (2012).
Modern Sculpture Reader (p.xi). Henry Moore Institute.
Powerful psychological or
sensory impressions are the purpose of these works in recognition of the viewers kinaesthetic bodies.
There is an ambiguous status - that projects or points to something that is more than what
immediately meets the eye. Whats beyond the surface?
This experimental studio process heavily embraces the use of everyday material and found objects – offering a practical/accessonible method of creation.
“Identifies fragments as part of a larger whole”
paraphrased from Ellegood, A. (2009). Motley Effort: Sculpture’s Ever-Expanding
Field. In Vitamin 3-D: New Perspectives in Sculpture and Installation. Phaidon.
Reading 1 Notes: What can Sculpture Be?
From Ellegood, A.
(2009). Motley Effort: Sculpture’s Ever-
Expanding Field. In Vitamin 3-D: New Perspectives in Sculpture and
Installation.
Phaidon.
Context: these notes recognises the evolution of sculpture from its previous 'conditions' in 1978.
Rosalind Krauss raised concerns that the 'rage to historicise'
dismisses differences in favour of arguing for an evolution within the medium.Adding that the categories of sculpture may, in fact, collapse under the weight
of all that it was now expected to encompass.
These wide-ranging and novel practices were the signal that sculpture was moving away
from modernism and into postmodernism.
The enormous display of artistic experimentation that transpired was something profoundly meaningful to the history of the medium
and worthy of attention.
Johanna Burton proposes that the category of sculpture should emplore these various
applications, noting that it is not a cause for crisis but rather a ‘state of
being’.
It is important to acknowledge that the current contemporary
field of sculpture and installation stands on the foundation of distinct
historical legacies.
In comparing Installation and Sculpture - both approaches
embrace three-dimensionality, and both are acutely aware of the exhibition
space or context as a site of presentation and display.
Diversity of sculpture is a force that seizes attention.
Radical Moves:
The absence of the pedestal in the 1966 exhibition ‘Primary
Structures’, by Kynaston McShine for the Jewish Museum, was considered bold for the era – indicating a new direction in sculpture. In present times,
there is very little use of the platform since this act
The pedestal may act in its most conventional role as a
nearly invisible display mechanism but is now more likely to be integrated in
the works
Personal Observations:
Sculpture in the contemporary scene is revolutionary –
opening a new landscape and perspective for the creation of object. It is not
restricted by material, space, environment or elements, in fact, the experimental
phase opens opportunities for unique rarity and innovation. It employs a new
wave of thinking, however as noted in the reading, the foundation was set from
those before, and without the past being laid this era of diversity would not
be flourishing today.
Studio Process week 1:
Week 1 introduced the core elements of sculpture – our task
was to create an experimental piece that relayed to themes from ‘expanded
sculpture’ and was required to become a part of a location outside of the workshop.
The material that was provided was wire – ranging in thickness and malleability.
As advised, this design was to be produced ‘in the moment’,
a product of creative flow. Naturally, after the knowledge that the site decided
upon was among greenery a few words came to mind – organic, intwined, web, abstract.
My vision considered the environment and its natural form.
I wanted a clear border/stems per se, so I opted for the
thickest wire (grade 3) – despite the challenges this might incur given my own physical abilities
(strength in not my strong suit). This proved to be the right decision however,
as it claimed its form perfectly. I applied spot welding for in order to
connect the intersections.
Final composition - Becoming 'one' among the twigs
Design Ideas:
Artist Review: Ruth Asawa
“I’m not so interested in the expression of something. I’m more interested in what the material can do. So that’s why I keep exploring” (Zwirner, 2025).
This sculpture reveals the boundless potential of a humble material like wire. Asawa's technique in wire-weaving has been developed from her personal experiences. The negative space and abstract shape work cohesively - holding its form whilst rendering hallow and transparent to reveal depth. It appears slightly skeletal - the bones of a plant of some kind, very organic.
Asawa decribes there works as 'branches' or trees - connecting these abstractions to nature. The contoures of the shape create line that is fluid and continuous in rhythmn - an hourglass form. The looping develops an intricate lace like pattern that showcase negative space through the gaps/voids within the work. Remaining simple in colour (metallic tone) allows the form to be the focal point.
“My curiosity was aroused by the idea of giving structural form to the images in my drawings. These forms come from observing plants, the spiral shell of a snail, seeing light through insect wings, watching spiders repair their webs in the early morning, and seeing the sun through the droplets of water suspended from the tips of pine needles while watering my garden” (Asawa, 2016)
Reflection:
I am genuinely intrigued by the oppositional values that this work beholds - the intricate details yet simplistic nature in form - it unites to create an asethetically pleasing ornament. The suggested flow of process/practice marks the embrace of contemporary fluidity.
Ruth Asawa
Untitled (S.398, Hanging Eight-Lobed, Four-Part, Discontinuous Surface Form within a Form
with Spheres in the Seventh and Eighth Lobes), 1955
Asawa, R. (1955). Untiled, S.398 [Hanging Eight-Lobed, Four-Part, Discontinuous Surface Form within a Form with Spheres in the Seventh and Eighth Lobes of Brass, galvanized steel, and steel wire]. MoMa.
Artwork Review: Anish Kapoor Anish Kapoor’s Newborn is a monumental stainless-steel sculpture that transforms reflection into revelation. Its spherical form, concaves inward, warping and absorbing its enviroment to evoke a viseral encounter within a transformed visual realm. As each element reflects and refracts across the smooth surface, turning the work into a recursive mirror, generating illusions of void and multiplicity.
“A shape is nothing but a sum of limited views, and the
consciousness of a shape is a collective entity. The sensible elements of which
it is made up cannot lose the opacity which defines them as sensory given, and
open themselves to some intrinsic connection, to some law of conformation
governing them all” (Sarkissian, 2024).
This piece redefines presence - despite its minimalist appeal it drives the forces of contemporary vision. The rounded shape is both dynamic and interactive - it allows the spatial surrounds to become apart of the optical device. Anish Kapoor Newborn, 2018 Material: stainless steel, Dimensions: 118 x 118 inches
Kapoor, A. (2018). Newborn [stainless steel sculpture]. Lisson Gallery. Photo via Lisson Gallery.
Reading Notes: Presence and Absence Echeng, E. E. (2021). The presence of absence: Negative space as form in sculpture. International Journal of Arts, Design and Art Theory (IJADAT), 1(1), June 2021. UNICAL Press There are two distinct spaces – positive and negative. Positive – limited to exact formal boundaries of the work. Negative – heralds the openness that exists beyond the work. Notably, sculptural practice has a tendency to lean towards creations in applied positive space – rarely in theory or practice does negative space receive the same emphasis or attention. Rachel Whiteread has a unique process to generate negative space which involves casting the space that encapsulates objects. This is achieved with materials such as resin, plaster, concrete and rubber Sculptures resonate with traces of human existence, history and memory – turning space into object. Immortalising the space. Whiteread has created architecturally scaled works with her casting process, wi...
Reading Notes: The Absent Body/The Body Everywhere (Excerpt from) Katrib, R. (2016). It feels like ... flesh. In How Does It Feel? Inquiries into contemporary sculpture (pp. 28-32). Black Dog Publishing Swiss artist, Pamela Rosenkranz highlights the quality/attributes associated with the skins surface as opposed to the objective representation. In acquiring a silicon material (‘DragonSkin’ prosthetics) the tones and texture of human skin is mimicked – without the physical traits of the human body, this art relied solely on familiarity. Plastic bottles and sneakers held the artificial skin contents – this connects to bodily autonomy without directly addressing it. Additionally, the work ‘Our Product’ follows this same process, with the exception of confines – it has freed itself from the ubiquitous commodities that regularly contain the skin puddles. Personal observations: To carry from this thought there is a notion that one can explore new bounds to present the idea of ...
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