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- W849589719 abstract "ion is elimination of detail and codification of information. We operate by its principles in all our systems of communication and even in our coherent thoughts. Since we must communicate in the world outside ourselves and not mind-to-mind, we have the ability to simplify our perceptions into compact, expressible forms, such as words and symbols. The ability to recognize that “bird” means any, all, or one particular bird, has a more playful side, such as seeing birds in the shapes of clouds or lines of curved wood. i find it fascinating that the essentials i pick out of a visual experience, and translate through inarticulate wood, can relate some of the feelings of that experience to another. and i find sculpture to be something altogether different from pictures. an artist making images has to create only one side of things—the side we see—and can even create something altogether imaginary. a sculptor, on the other hand, while dealing with his or her imagination, also has to deal with the physical facts of the world. Gravity, size, and relationships of placement demand a functional kind of attention– the same kind we give to everyday objects. But sculpture further demands a special kind of attention—the importance of what it looks from every side. The only really good way to see sculpture is to do so in person. like so many things in life—taking a walk, attending a concert—“seeing” sculpture is as reliant on the sensations of the body as much as it is the eyes. our sense of touch relies very much on weight; and it is only in comparison to our own bodies that we understand physical similarities and differences between ourselves and other things, plants, and animals. This leads me to consider how i experience the world as a part of nature—a being in the world—not outside of it as one looking at a picture. if this work is about control, then it is also about abandonment—the pursuit of order and the submission to chaos. While i go about construction instinctively, i am tapping into a mode of problem solving unfettered by too much solution. for example, i could have studied boat building, or even just soaked my wood before constructing the Hull, but instead i just kept inching the curves tighter and tighter, finessing the planks into place. i can not remember how many of them snapped." @default.
- W849589719 created "2016-06-24" @default.
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- W849589719 date "2010-01-01" @default.
- W849589719 modified "2023-09-27" @default.
- W849589719 title "Artist Spotlight: Curved and Pointed" @default.
- W849589719 hasPublicationYear "2010" @default.
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