“To explain sculpture is almost an impossible task, because any attempt inevitably becomes an academic discussion of idiom and materials” explains John W. Mills In his book, The Technique of Sculpture. However, he explains sculpture as a three-dimensional form either in relief, or in the round, that involves different methods; carving, modeling, casting and assemblage of found objects. Far from that, this brief article endears to visit the aesthetics section rather than the practicality of the use of tools and materials. Essentially, how sculpture encapsulates and what it becomes; what is involved, what it takes, Its different aspects, intentions, and effects. All that a journey just like what makes you a great deal of brewed coffee from your favorite Café, that serves you just the right temperature; the right thickness; the right aroma; the right piquant flavor, all the way to its microform latte art presented to you, and only to serve you a savory, memorable experience that makes your mouth water long before you step out of your home.
The sculptor, long before he picks his tools, before he decides his final expression material, his heart harbours a myriad of emotions, all ushered to him by the creation, and its supreme creator. Its more like nature paying your studio a visit and takes the model’s chair. The sculptor cannot define his feelings, unless he has fulfilled expressing it in his best language in the medium of his choice. Any idea may be presented to him, but until nature has agreed to release itself to him, he remains hesitant to embark on the task. He must withdraw, to draw in the innermost scrapbook of his soul. He may take a long walk alone, to harmonize the chaos taking place in him, or sit still in a silent dark room, or just do anything to remove himself from his daily routines, in a bid to allow himself be one with his great inspiration. Only then does he pick his charcoal and paper, scribbling, jotting, doodling, scratching all that flows from his great inspiration to his innermost and through his hand. The idea of formless begin to take the likeness of a recognizable form.
A sculptor deals with the three-dimensional aspect of art. He may or may not begin with scribbling per se, but before he embarks working in his material of choice, he must become one with it either from experience, which if a master, has by now become his second nature, or if still a student, can find himself just staring at the material, not knowing what to do, or where to start. The material has a life in itself and it intimidates him. He is full of expressive Impressions, on how he needs his final sculpture to look like. He has a myriad of immeasurable happenings in him, that eagerly seek his first strike like an amateur pianist who hits the keys without direction or comprehension. The whole daunting process, unto the finish, subdues and terrifies him. All the same he has to start somewhere and communicate his feelings. He might need to be nudged and that is why he should attend school or work under a master artist to help him overcome his fears. Even young Michelangelo and Picasso trained under a master artist. Michelangelo worked under Domenico, before going into Lorenzo the Magnificent’s studio, while Picasso worked under his father Ruiz.
To have confidence using any medium, a sculptor should become one with it by spending playful time to understand its mannerisms and tendencies. Only then can he manipulate it to his liking and advantage. If wood, a sculptor needs to be familiar with wood grain patterns and their resilient characteristic attitudes when chipped, cut, bent or struck? A flawed or sound stone may chip or split depending on its granular or crystalline structure. Steel has a tendency to rust so willingly while Clay tends to carve and curl, pinch and squish, roll, press and poke so religiously and harbors a forgiving spirit. All these and many other materials have a life of their own; they communicate to the artist in diverse ways, to assist him achieve his desired form. And so he must learn, understand and work with each of their qualities. Whether working on stone, wood, metal, plaster of Paris or found objects, “sculpture is not for the weak” said the renowned British sculptor of 1862 to 1949 Albert Toft. A sculptor ought to have the strength of an athlete, the dexterity and precision of a surgeon. As a matter of fact, a sculptor needs to be ambidextrous.
To create forms, all shapes that we see and know, are fundamentally from the vast nature. From the Sun and Planets that form circular shapes, or the cylindrical tree trunks or human arms and legs, to the prisms formed by gems found beneath us. A sculptor must visualize all that before embarking to strike or apply his or her material.
To transform shapes, into forms that transcend into familiar objects; One, the sculptor either visualizes his intended form, from within a block of stone or wood like a hologram, makes his markings and so precisely strikes with hammer and chisel, until he reveals the imprisoned form. The other, the sculptor visualizes his form in midair and builds upon or draws using a plastic material like clay, plasticine, plaster or cement, until the whole familiar 3-diemensional image is revealed. But most fundamentally he must understand all forms emanate from shapes, and shapes from line. Forms are elevated shapes that have multiple planes or faces? (A multifaceted shape.) It takes study and practice to see the forms reveal as seen naturally. In a complex form, like that of a human, the transition of one form to another, spiraling, and bending, stretching and twisting creates visual and structural strength. That is the music in sculpture. the Poetry, the rhythm and the timelessness of Beauty in wonder.
Each Sculptor, in their diverse ways in which they execute their dreams, visions, feelings and character, and the manner they interact with the medium, to manipulate and control however they may like, is all an awe. And art, not only accepts their weaknesses and strengths, but glorifies all their differences. Their finished works whether hollow or solid heavily textured, or smooth, pointing with many projections or many voids, all elicit diverse emotions, energy and message. Mark di suvero once said that, “the essentiality of visual form, is only known by the recently blind, and we do not need to go to a hospital to know how dependent we are on physical form.” But how much more rewarding is sculpture to those that see? He explains how sculpture is deeply entwined with Life Source, a pure expression of Life Energy, which transforms and even able to bring healing to the ailing. This is the true direction of sculpture.
Maybe, when you look at direction, what questions come to mind, are those that are related to mood, feeling, hunches and premonition. What emotion does this sculpture evoke in you? Joy, perhaps? Anger? pain? grief? Although the Sculptor must be familiar with the initial direction of the sculpture he creates, more likely, it is also able to metamorphosize into a different emotion, energy or message(morality).
Direction and morality are not distant siblings, though morality has always stirred up debates among critics and art professionals. As to what values a piece of art should evoke, and which it should not, shall not be the discussion today. However, art that has power is one that steals more attention from its audience. It has the power to educate and transform or undermine beliefs and attitudes. The philosophy, in contention on the moral values embodied by a piece of art, is on the hypothesis as to whether moral flaws affect artistic merit and value of an artwork. I call it the antonism debate.
While some believe that art has nothing to do with morality. I wish to pose a question to you, although i do not state that I am a thomist like Oscar Wilde. Should man use his own free will to create any art as he please? Is art concerned with the good of the executed artwork or the good of its creator?. ,
Edit by Kimiti Kamande
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