| <<<<<<<<<<<<<<< Back of Head | |
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THE |
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TEST |
Object |
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This is |
This is |
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not a test. |
a test. |
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This is not |
This clay |
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a real face. |
is real. |
| These are not |
These are words |
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lips, not even |
about my ideas |
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my nose/lips. |
for sculpture. |
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This is not |
This is not |
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symbolic. |
representation, |
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the test is |
the clay is |
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as real as |
coated w/glaze |
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it is possible. |
it is enough. |
| Top of Arm>>>>>>> |
| Inside: Hannah Arendt. Her words on Banality and Conscience, The Human Condition, on Politics of the late 20th Century and on The Life of the Mind. Of particular interest are her thoughts on Work and on Beginning Something New. This is a small monument and bookshrine, it is an idea. |
| <<<<<<<<<<< All over/around! | |
| Listing the Proper(ties) and (At)tributes of sculpture: Besides what makes sculpture different than painting, to say nothing of dance, music and literature; it occurred to me that i couldn't -without this delineation- say exactly what sculpture does. Not any specific piece but those (quale)ities which are factors distinguishing sculpt from all other (art)works [using Arendt's definition of work as something created from nature (as an (art) ifice/wall/boundary) by man, who's end is in-itself and has duration and a (sem)blance of per(man)ence]. So, as much for myself as for this piece, this listing, in-and-of-itself, serves as a partial cognition and does not attempt a hierarchy -although it may be implied unconsciously. -Fragility & Permanence Embodied. -The Human Scale Realized. -A Subjective & Personal Spatial Awareness. -Grandeur & Intimacy as the Transcendental Experience. -Men becomes conscious of Man through realist figurative representations. -Man becomes conscious that he is bound to Nature through Material substances. -Vaguely elusive, multifaceted, multidimensional. -The sculptor has less control, therefore has a heighten awareness of his limitations, translating it to the viewer. -Reveals aesthetics unknown prior to its completion due to shifts in lighting. -Reveals facets unknowable due to viewer's position in space. -Effects the space in which it is placed. -Self-sufficient. -Internal structure and formal integrity independent of the setting -Specially organized spatial environment. -Includes the beholder, as an object, therefore shapes response. -Controls the environment. -The Integrity of the work separates the world. -No beginning, middle or end. -Insists on its own existence in space. -Uses non-fictitious space. -Probes various states of physical suspension, tension and nonbeing (negative space) . -Activates contingencies within the viewer's encounter, rather than outside of them. -Has physical Reality, Mass and weight, under the constraint of gravity. -Imagery without illusion. -Modification resistant. -A propensity for pre-planning, Conceptualist. -Teleological, it doesn't exist until completed. |
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| List of Possibilities & Functions: |
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The Commercial |
A Social Commentary |
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| Yellowshrine |
| 34" x 18" x 8" |
| June/July 2002 |
| SCULPTURE |
| Back to yellowshrine, Blue Plate (Interior) Words |