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  #151  
Old 05-26-2009, 07:22 PM
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evaldart evaldart is offline
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Re: David

During it all, the narrative that had set things in motion eventually gets thinned-out and discarded; and rightfully so. Because whims occur and physical limitations arise that were never part of the "plan". I know that the whole thing is going well when the object quits on the story.
The "robot" thing is simply a very agreeable way to execute figuration out of metal junk. Of course it will get attached to me as a "style" but in the end I dont find it all that much different than the abstractions.
Someone will buy him eventually...and that bugs me a little right now...but it wont bother me down the road when plenty of other fresh stuff has accumulated around the yard, the tonnage can become alarming; but for now, I stationed him near my concrete workpad. We'll discuss philosophy while I labor and then I'll let him whirlygig himself over to the beer store so as not to become lazy.
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  #152  
Old 05-26-2009, 09:13 PM
grommet grommet is offline
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Re: David

Do you refer to your sketches as you work, or after complete? Just curious.
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  #153  
Old 05-26-2009, 10:01 PM
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Re: David

Quote:
Originally Posted by grommet View Post
Do you refer to your sketches as you work, or after complete? Just curious.

I suppose the idea-development is work...though significantly more passive. So sketches would be there along with looking at pictures, reading some words and allocating/separating-out material. But often things I call sketches might be gesture studies on paper or even in steel. its the way you search for the "right" thing. Most of the time the sketches serve to show me all the wrong things. When its go-time all bets are off and all those sketches get left in the dust. I probably only did them to validate the time it takes to work up the nerve to tackle the real thing.

So yes, sketches are work, and might even be a fleeting sample of HARD work, but they are not THE work.
And they can be peddled also...cause every little bit counts back there in the ant colony.
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  #154  
Old 05-27-2009, 07:56 AM
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Re: David

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Originally Posted by evaldart View Post
So this is "Giant Killer" at his public debut. Tale of the tape: 11' 9" x 5' x 5', 2200lbs.

There were no takers this time...which means I'll be getting to know him a bit.

The weeds are high in the boneyard these days. Perhaps I'll switch him on and make him work.
Wow, that is some coolness right there. Amazingly subtle gesture, lithe and lively.

I have the greatest admiration for work which is beyond my abilities and sensibilities, and this fits both parameters. So glorious to see scraps turn to form with real purpose.
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  #155  
Old 05-27-2009, 08:18 AM
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Re: David

Have to agree with WillPaq here.
Lithe, indeed.

What first strikes me is the entirely relaxed pose.
Belabored/recoiled/outward exhalation.

I wanted to stew on the images for a bit....Nice going, Matt.

Last edited by obseq : 05-27-2009 at 09:26 AM.
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  #156  
Old 05-27-2009, 08:45 AM
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Re: David

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 that 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 our 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...

Last edited by evaldart : 05-27-2009 at 03:15 PM.
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  #157  
Old 05-27-2009, 09:08 AM
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Re: David

Quote:
Originally Posted by evaldart View Post
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...

Bravo,

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.

RD
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  #158  
Old 05-27-2009, 09:32 AM
grommet grommet is offline
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Re: David

Quote:
Originally Posted by evaldart View Post
I suppose the idea-development is work...though significantly more passive. So sketches would be there along with looking at pictures, reading some words and allocating/separating-out material. But often things I call sketches might be gesture studies on paper or even in steel. its the way you search for the "right" thing. Most of the time the sketches serve to show me all the wrong things. When its go-time all bets are off and all those sketches get left in the dust. I probably only did them to validate the time it takes to work up the nerve to tackle the real thing.

So yes, sketches are work, and might even be a fleeting sample of HARD work, but they are not THE work.
And they can be peddled also...cause every little bit counts back there in the ant colony.
That's something I appreciate from you, you always deliver more than is expected.
All i meant was 'do you look at your sketches as you weld' which you answered, and the rest is gravy on the taters.
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  #159  
Old 05-27-2009, 10:46 AM
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Re: David

From some angles some body parts look humorous. Was that your intent?
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  #160  
Old 05-27-2009, 10:54 AM
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Re: David

What you are seeing is part of the complete evaldart package, which almost always includes a healthy dose of humor along with the wallop.
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  #161  
Old 05-27-2009, 11:20 AM
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Re: David

whats that fancy word for balancing most of the weight on one leg in figure sculpture, I see this trick used in alotů

What makes this sculpture work is the recoil pull starter rope
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  #162  
Old 05-27-2009, 12:52 PM
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Re: David

Quote:
From some angles some body parts look humorous. Was that your intent?
I think you already understand.
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  #163  
Old 05-27-2009, 01:06 PM
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Re: David

humor, intensity, foreboding, shock, awe, amusement and unrelenting are only a few of the things that try to get stuffed into a work. Varying degrees of each, of course, depending upon my mood at the moment.
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  #164  
Old 05-27-2009, 01:19 PM
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Re: David

Glenn and Joe, I've been here for a while .
I was curious of Evald's answer. It looks to me it started out serious at the bottom part and gesture, and it turned into humorous halfway up. From David he transformed into Dave. I guess what I'm saying is I would like this piece a lot if it wasn't for the title. But that's my problem, right Evald?
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  #165  
Old 05-27-2009, 01:24 PM
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Re: David

I changed the title officially to "Giant Killer" (because it doesnt matter to me). It sounds more aggressive and threatening to go-along with the little propellor.
So it didnt end up being a "David" after all. Its all in the departing.
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  #166  
Old 05-27-2009, 01:36 PM
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Re: David

Quote:
So it didnt end up being a "David" after all. Its all in the departing.
Well its in the spirit of David so that is just as good--why copy so closely. You just saw more humor along the way than did the original. That is what makes this one interesting--there is more going on--that modern life has more going on is what makes this one possible. The ancient ones could not see as much or express as much. Humor is what makes this one work. I always try to inject humor in my work. Its makes Jack a dull boy if he doesn't laugh at life. Expressive Power creates reality. And you do have a say.

So. Dave is a great name.

Last edited by jOe~ : 05-27-2009 at 01:37 PM. Reason: additional verbiage
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  #167  
Old 05-27-2009, 01:45 PM
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Re: David

I agree with Joe. The new title is good, people will inevitably associate it with David-- as opposed to comparing it to David. And that is the importance of the title right there.
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  #168  
Old 05-27-2009, 03:14 PM
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Re: David

Quote:
Originally Posted by evaldart View Post
In figuration all this MUST add up to the sensitivity of "gesture".
yep, except tweaking great lumps of metal into 'sensitive gesture' is where the skills lie,
only those who 'know' figuration and have had a long term relationship with their medium can make it look so easy.
great piece Evaldart, just special.
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  #169  
Old 05-27-2009, 03:39 PM
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Re: David

Quote:
yep, except tweaking great lumps of metal into 'sensitive gesture' is where the skills lie,
only those who 'know' figuration and have had a long term relationship with their medium can make it look so easy.
Its skill that needs to include Awareness of the vision and the effort bit you left out. Until you've worked this way it's impossible to appreciate the work. He's not shitting you with idle (pun intended) blather when he always lists weight. The effort to execute has to be at least in proportion to the vision. Skill is just the tool. But I think you actually get that.
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  #170  
Old 05-27-2009, 08:02 PM
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Re: David

Already found some on Flickr. Better than my own of course.
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  #171  
Old 05-28-2009, 08:38 AM
grommet grommet is offline
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Re: David

great pics. the second one makes giant killer look tiny though. Odd, like how toys seemed larger when you were playing with them.
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  #172  
Old 05-28-2009, 11:44 AM
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Re: David

In the second photo I'm imagining all of those peewee sculptures in the background running for cover. The one to the immediate right of the Giant Killer looks like it is frozen in shock from the sight of G.K.
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  #173  
Old 05-28-2009, 12:01 PM
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Re: David

Quote:
Originally Posted by GlennT View Post
In the second photo I'm imagining all of those peewee sculptures in the background running for cover. The one to the immediate right of the Giant Killer looks like it is frozen in shock from the sight of G.K.

Right,.. I have to admit I didn't think he could pull it off and not because of the skills, but rather the context. David and Goliath remain timeless I guess as far as themes and ideas go so I shouldn't have been so quick to dismiss them as being implausable today. It reminds me of Mountshang's question about religeous works and whatnot on some other distant thread.

He does have a rather studly air about him that make all of the others seem like tomato plant supports and various garden crafts and wind chimes in comparison. The next big one is only a fixed amount of time away. Hard work in the right hands=great sculpture.
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  #174  
Old 06-02-2009, 08:31 AM
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Re: David

A set found on flickr

me and the boss(pink shirt) in the background, last pic.

Last edited by evaldart : 06-02-2009 at 09:21 PM.
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  #175  
Old 07-20-2011, 09:16 AM
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Re: David

"David" recently installed at the Norman Rockwell Museum as a participant in their outdoor exhibit "Robot Nation". Won best in show. He's out doing his thing.
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