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!
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.