[I have a] way of making narrative sculpture, where first you make a text and out of that text you make objects. [...] I start with a story and then I make sculpture from that story, it's just that the stories become more and more elaborate.
It's a stage with four lights clamped to it with walls made out of plywood. And then my name's in the center. It's the type of thing that can be made over and over again. It's not like a Michelangelo sculpture.
Art used to be painting, sculpture, music, etc, but now, all technology has become art. Of course, this form of art is still very primitive, but it is slowly replacing reality.
My sculpture is very personal; for years my subjects were family and close, close friends.
Take a relief. You draw it, you carve it out. Later you build it up from a flat surface. There is no other way to do a sculpture - you either add or you subtract.
There's something imminent in the work, but the circle is only completed by the viewer.
Sometimes people damage paintings or sculpture because they love it. They throw their arms around a statue in a fit of hysterical passion and it falls over.
Within my heart is carved a sculpture of your love.
When anyone seriously pursues an art - painting, poetry, sculpture, composing - over twenty or thirty years, the sustained discipline carries the artist down to the countryside of grief, and that descent, resisted so long proves invigorating. . . . As I've gotten older, I find I am able to be nourished more by sorrow and to distinguish it from depression.
In the studio, I don't do a lot of work that requires repetitive activity. I spend a lot of time looking and thinking and then try to find the most efficient way to get what I want, whether it's making a drawing or a sculpture, or casting plaster or whatever.
The greatest productions of art, whether painting, music, sculpture or poetry, have invariably this quality-something approaching the work of God.
I believe that magic is art, and that art, whether that be music, writing, sculpture, or any other form, is literally magic. Art is, like magic, the science of manipulating symbols, words or images, to achieve changes in consciousness… Indeed to cast a spell is simply to spell, to manipulate words, to change peoples consciousness, and this is why I believe that an artist or writer is the closest thing in the contemporary world to a shaman.
I went to a school in N.Y. that is conceptual and interdisciplinary and modeled after Cal Arts. It is not just painting or sculpture; it was everything mixed together.
Set in the remote and harsh high desert landscape of Idaho, Outpost is an artist live/work studio and sculpture garden for making and displaying art. An important aspect of the complex is the protected paradise garden, which is separated from the wild landscape by thick masonry walls. The materials used in the structure, including concrete block, car-decking, and plywood, require little to no maintenance, and are capable of withstanding the extreme weather that characterize the desert’s four seasons.
When you come up in the art world, whatevers in the air, the issues of the moment, end up becoming part of the working method or modus operandi of how you think about doing a painting. And I came up at a time when-actually painting was dead when I came up. Sculpture sort of ruled.
While she was working on Maturity, ... M. Rodin is well aware that people have imagined that he did my sculpture why then do all one can to give credence to these lies.
Somebody informed me recently that the key to every art, from writing to gardening to sculpture, is creativity. I beg to differ.
Well, I never studied design and I went to art school to study art, you know, sculpture and things like that, and ended up making things like sculpture and started making chairs and jewelry together and that's how I started.
The sculpture is already complete within the marble block, before I start my work. It is already there, I just have to chisel away the superfluous material.
What I think about when I frequent the Museum of Natural History, the Metropolitan [Museum of Art], and I look at these artifacts that are taken out of context and how we're forced to view them as objects, as relics, as sculpture- static. But what's interesting is what it allows me to do in my head in terms of imagining what the possibilities are or imagining the role in which they played within a particular culture which I'm fascinated by.
The advice I would give to any photographer - young, old or in-between - is to explore anything visual because this is, after all, how you express your artistry. Look at paintings, movies, drawings, sculptures - look at anything visual and try to integrate that into your visual sense. After that, go out and take pictures and keep on taking pictures!
Why must art be static? You look at an abstraction, sculptured or painted, an entirely exciting arrangement of planes, spheres, nuclei, entirely without meaning. It would be perfect but it is always still. The next step in sculpture is motion.
I always want to do music that inspires or influences another generation. You want what you create to live, be it sculpture or painting or music. Like Michelangelo, he said, “I know the creator will go, but his work survives. That is why to escape death, I attempt to bind my soul to my work.
Each artist comes to the painting or sculpture because there he can be told that he, the individual, transcends all classes and flouts all predictions. In the work of art, he finds his uniqueness confirmed.
At first, one sees the person who is modelling; but little by little, all of the possible sculptures that could be made come between artist and model.
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