Another addition to the Form-finding Series, a series I began working on back in August 2013. That's quite some time ago, so I feel a recap is warranted here, to give an insight into what Form Finding is about.
The links below take you to a full explanation and images/video; alternatively, the two paragraphs below give a quick insight:
I have been working on fine-tuning my technique for creating three-dimensional, air- and light-filled forms straddling ceramics and sculpture, i.e. creating fired clay pieces using ceramicist hand-building techniques whilst holding to sculpture's principles and language of form. I am combining the (Gutai inspired) principles of artist / material interactions with the concept of form finding, i.e. letting the form shape itself; working in partnership with the material, homing in on the properties and behaviour of the material - clay - and so calling form into existence. (See the posts dated 21 and 26 August 2012 and 24 September 2012 for further insight into Gutai).
An interesting lecture, albeit rather philosophy-based and computer-oriented for the purpose of this post, on the genesis of form (morphogenesis), which relates to the 'Form Finding' post of 18 August and in practical terms to the things I've been working on over the spring and summer months.
With this in mind, most of interest in this lecture are what Delanda says about:
- how form comes about; relevant to art/artists more specifically, from 9.10 minutes on the time line;
- at 11.00 to 14.50, the artist being able recognize that materials have creative powers of their own and entering into partnership with the material;
- 54.52 and through to 57.00 and beyond, re. phylum and William Latham respectively, generating potential for form differentiation, which happens in my own 'form finding' process - which, unlike Latham, is definitely and very importantly not computer-generated - in that I consciously facilitate and nurture the potential for a form/movement to come about - places of possibilities - because a movement/gesture in sculpture initiates very early on in the body of that movement.
- (also an interesting ecology-related comment at 1.00.00.)
With this in mind, most of interest in this lecture are what Delanda says about:
- how form comes about; relevant to art/artists more specifically, from 9.10 minutes on the time line;
- at 11.00 to 14.50, the artist being able recognize that materials have creative powers of their own and entering into partnership with the material;
- 54.52 and through to 57.00 and beyond, re. phylum and William Latham respectively, generating potential for form differentiation, which happens in my own 'form finding' process - which, unlike Latham, is definitely and very importantly not computer-generated - in that I consciously facilitate and nurture the potential for a form/movement to come about - places of possibilities - because a movement/gesture in sculpture initiates very early on in the body of that movement.
- (also an interesting ecology-related comment at 1.00.00.)
And a direct link to the YouTube video of the lecture
To read all my blogposts on the Form-finding Series, click on "Form Finding" in the Series/Themes list (top of the page on the right).
So, in short, by harnessing the principle of this form-finding process, sculptural forms come about through sympathetic artist/material interaction. Clay behaves in a certain way, it responds to changes in its immediate environment, and different clays (smooth, grogged, white, black ...) behave in different ways and have their own individual appearance. Form, sculptural movement, the gestures of movement are teased out by what precedes. Sculptural movement initiates very early on in the evolution of the gesture and that nascent movement is further developed over the course of the making process.
And now for some images of the latest form-finding piece, viewed from different angles and placed in different positions:
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