Originally Posted by evaldart
When you really break it all down, We sculptors compose line, mass and contour to achieve our visual goals. Sometimes we say or wish or think it (the object) has another more applicable purpose, but it doesnt. The thing must simply get THERE to subjectively achieve our unique aesthetic desires.
Sometimes Mass leads the way as in the case of the electromagnetic "presence" of the monolith...sometimes line slices and dices the emptyness...and sometimes contour violently or gently displaces or wedges its way into opur consideration. All or any of these formalities can lead us through our travails.
In figuration all this MUST add up to the sensitivity of "gesture". Mannequinned or tin-manned or even "robotic" achievings are undesirable. Therefore it is of paramount importance for we who deal with the subject of the human figure to address the subtleties of The stance. A rendered figure will always fail if this has not been sufficiently handled.. Even the fire and tornado of process cannot overcome a "stiffened" piece of figuration. So my challenge there-in is always to at least get THAT satisfied. This brand of fulfilling is probably what keeps me coming back out from abstractland...
As well said as is done the Giant Killer. The complete gesture of the left hand, forefnger and thumb are as beautiful as the gestures of Mike's David and Pete's Eustache de St Pierre.