I’m thinking again about the surface quality of things, in particular, sculpture. The surface of a sculpture, if it isn’t the integral sculptural material itself, is conditioned by these other qualities:
Ornament attracts the eye in a flowing motion, in a variety of all directions. it relaxes the eye muscles and the vision and focus.
Pattern is repetitious, which causes the eye to jump and move, the moiré of pattern and strobe effects of Op Art. It activates the eye’s movement, and is stressful to vision and focus.
Texture is a randomness of pattern, unintentional, the eye wanders without intent, abstractly, into a seeking of imagery to focus onto, the paranoia critical method of Dali. It can be visually restful while also being mentally stressful
Color is the corporeality of an object contained by the field of vision, a visual object is entirely color and nothing else. Impressionist.
A certain person says that her word is “gather”; To bring together, collect, and join.
Work-play continues steadily, no matter. The sculpture of Buddha pre-exists everything, and will still exist after everything else is gone.
The sculpture of the Buddha makes itself; the artist is a sympathetic witness.
Twice the normal working size means, mathematically, so many square-times the usual surface area. This is coming into account now. Phew!
I had to cover that glorious golden belly, but behold, the marvelous/emerging Horse Buddha butt!
Having built-up enough volume of foam over the month, I’m ready to start carving back, and get some shape happening. I can see this will take a while. It’s good though to feel the materials and have the pleasure of working them with hands-on and tools. This is, after all, the good part.
For a minute I’d optimistically thought I was half-way on this: that I’d move onto the larger final version sooner. But now I want to take the time to enjoy working on this; what I’d been thinking of as the model, taking on an outcome of it’s own, and experimenting with form, contours, and especially surface details. Can I do both at once? Ooooh…?? I should work out the surface detail now, before I have to do it on the large final version. If I were smart about it. But I’m not. I’m careless , and frivolous, and it appears, unconcerned with technique and process.
Alas, millions must live and die, so that one poet may be revealed.
Progressing with the volume, and checking the proportions. Perfect. Why don’t I assume by now that I know how to make a Buddha? I’ve seen a million of them.
Working this bozzetto for Horse Buddha using the common available materials as I have been doing lately, which I favor now because it can be much larger that the usual size of these; 48 in. vs 18 in., and I see it better, and is easier to build on and construct at this size, and I have a clean studio which feels enormous.
I love this word bozzetto.
I have evolved, built-up, and reduced my Horse Buddha sketch to this simplified tag-