The halfway point of a sculpture is like swimming to the middle of the ocean… you are not quite sure where you are, either shore equally too far off, but you go forward to the shore you don’t know and away from your starting point.
From here I need to consider the surface finishing of this – color texture pattern adornment – I thought about plaster, because it seems so malleable and still stone-like, and I made a small bozzetto to try it and remembered what a pain plaster is to get upright on a surface. It is really only best for molding.
I made the model and it turned out exactly like the foam figure, which tells me two things – that the plaster doesn’t bring me any closer to the finished surface, but on the other hand, the foam piece is done and nothing needs to be added to it.
The foam core of this Buddha is nearly finished, a few cavities to patch and some sanding to smooth and even out the surface. The clear and present direction to f\go forward with is what I started out to do; cover it with masking tape and then paper mache. I won’t use the “paper clay” recipe from another project. It is too messy like plaster to re-work, and anyway making large batches of the stuff is a chore.
The Deity descends to occupy the sculptural body created by the Artist, as the form becomes attractive and sensible to the entity.
The Artist discovers himself absent-mindedly stroking the nose of the Horse Buddha as he contemplates his carving and visualizes what is next.
Sculptures bridge the gap between Nature and Architecture. They are designed, yet they are of nature.
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!
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-
At the Washington National Gallery I saw two portraits, one by Franz Hals, the other, Rembrandt.
Frans Hals (Dutch, c. 1582/1583 – 1666), Portrait of a Man, 1648/1650, oil on canvas, Widener Collection 1942.9.28
Rembrandt van Rijn (Dutch, 1606 – 1669), Man with a Sheet of Music, 1633, oil on panel, Corcoran Collection (William A. Clark Collection) 2014.136.41
The subjects gaze with equanimity to the viewer, calm, composed, present, the presentation by artists unspoiled by having never seen a photograph. And as well, the subjects presenting the sense they have of themselves, undiluted by celebrity.
The world was young, every picture fresh. Old we all are now, surfeit of experience.
The horse decides one day that he is done being Mankind’s unit measure of power, his war horse, transport, and working his fields.
He thinks, “Have I not pulled enough wagons? Mankind doesn’t need me anymore, and I’m just a pet to him, like a cat or dog”.
So, He goes off to the river, finds a giant lotus flower to float upon, and, practicing austerities and Yoga, begins to cultivate his Buddha-Nature on his own.
The best start for any sculpture begins with a sketch on a coffee shop napkin. If you can get it down quickly, in the space of one cup of coffee, with a felt or ballpoint pen on fragile raggy paper, then you have a core idea which you can try to develop into something. Has to be this way: Reduce to the barest and worst materials possible. That’s how you know you have a basic image worth continuing with.
The best start for any sculpture begins with a story… (lately this is happening to me)