The sculptor speaks
It is a mistake for a sculptor or a painter to speak or write very often about his job. It releases tension needed for his work. By trying to express his aims with rounded-off logical exactness, he can easily become a theorist whose actual work is only a caged- in exposition of conceptions evolved in terms of logic and words.
But though the non-logical, instinctive, subconscious part of the mind must play its part in his work, he also has a conscious mind which is not inactive. The artist works with a concentration of his whole personality, and the conscious part of it resolves conflicts, organizes memories, and prevents him from trying to walk in two directions at the same time.
It is likely, then, that a sculptor can give, from his own conscious experience, clues which will help others in their approach to sculpture, and this article tries to do this, and no more. It is not a general survey of sculpture, or of my own development, but a few notes on some of the problems that have concerned me from time to time.
Appreciation of sculpture depends upon the ability to respond to form in three dimensions. That is perhaps why sculpture has been described as the most difficult of all arts; certainly it is more difficult than the arts which involve appreciation of flat forms, shape in only two dimensions. Many more people are form-blind than color- blind. The child learning to see, first distinguishes only two-dimensional shape; it cannot judge distances, depths. Later, for its personal safety and practical needs, it has to develop (partly by means of touch) the ability to judge roughly three-dimensional distances. But having satisfied the requirements of practical necessity, most people go no farther. Though they may attain considerable accuracy in the perception of flat form, they do not make the further intellectual and emotional effort needed to comprehend form in its full spatial existence.
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