Today’s work consisted mainly of finishing off a work in progress of a large – full scale – male figure, welded together with 6mm steel rods. The curve of the rods used to describe the body added to the more organic feel of the piece, rather than using straight rods as seen in some of Antony Gormley’s pieces. Although there are lots of other pieces that he did with curves jutting out from the surface of the body.
My own sculpture (work is still in progress and images to follow) is a contained piece – there are no things shooting out to the sides like in the example above and that is because my sculpture is more to do with the pose, intended movement, imbued narrative and locked in potential rather than static and fixed – happy with it’s own existence. I am trying to get it to be more part of the environment and may yet decide how to display it – giving it more specific interpretation or indeed making it more ambiguous and universal in that respect.
The pose I tried to resolve was something between sexual intent and playing a keyboard and even the slightest re-positioning of the hands seem to make a difference in moving the sculpture out of the realm of sexuality alone and into an existential arena (and here I ought to acknowledge that sexuality would also fall within this).
Consulting others in this process was also important as I was too close to the image portrayed and saw in it different things and interpretations that were less obvious to colleagues and students.
Plan is also to continue working on this sculpture and most likely to introduce ‘flashing’ as the material to clad the steel structure. I don’t want this to be an irreversible process as the sculpture has good qualities as it is and I would hate to lose the sensibility I have achieved so far. Ultimately I could produce anther similar piece to then work into the next stage but at the moment recording the stages seem a sufficient level of evidencing the development. Below are a couple of images of the first day of working on it – there was lots to resolve in terms of proportions, flow of lines, muscle suggestions, skeleton etc. Today I have given the legs much more ‘body’ as they looked a bit spindly, the hands needed defining – wrists were not clearly delineated, torso needed fattening up, genitalia needed more resolution and I also needed to make the decision on size and level of erection – this would alter the reading of the sculpture very dramatically.
Finally the feet were released from the constraint of the stabilising base, structure was strengthened and the head reshaped. I paid a lot of attention to the turn of the wrist, openness of the arms and inflection of each digit. Previously the steel rods were there just as place markers.