Simplicity Through Complexity

The main subject of this post is a recently finished sculpture exploring simplicity of form. This latest sculpture is about sculptural form and material: concave, convex, transitions, edges, and texture. I decided from the outset that simplicity was going to be key to the clarity of the intention. Simplicity, I have come to be convinced, is a good principle of expression in abstract form.

I would, however, first like to go back in time for a moment to illustrate the history and the thinking from which this latest clay form ensues. 

In my preliminary musings I found myself reading through some past posts, two of which - dating back to December 2010 - I found very satisfying to rediscover, so much so that I feel I should include a reference to them here.

The first:  

Simplicity Through Complexity (1)

and this passage in particular: 

I love the simplicity, the serenity of this form; it sits there quietly, but there is a huge amount going on; simplicity through complexity. It also has that 'universal' element I've referred to previously, the almost mathematical dimension.

The second:

Simplicity Through Complexity (2)

this passage in particular:

It reminds me of another statement I saw on the dust extractor at a studio space at Fondazione Sem in Pietrasanta. It was the workspace of a sculptor called Armen Agop - http://www.armenagop.com - (do take a look at this website), a fascinating character, both as an artist and as a person, whose work I admire greatly.

He had written this first in Arabic, followed by the English translation:

This was a highly inspirational encounter, both because of him and the surroundings in which he worked and because of this statement. I have had discussions with artists who feel that simplicity equals boring; they need more going on in a sculpture (painting, ...) to keep their interest. I wonder whether they might be missing the point ...


Here are a couple more images of his studio space:

And now on to the main subject of this post:

The reason, I think, for this latest piece to have turned out as it has was my discovery of a new/different clay: a beautiful soft white when raw and a glorious texture to play with, and an equally beautiful, and slightly more luminous, soft white when fired, all of which are good foundations for exploring simplicity. Perfect joy!

So, as I said, this piece is about sculptural form and material: concave, convex, transitions, edges, and texture:

The convex and concave

The transitions from one to the other

the edges

And texture

Have I got it right or have I taken the 'simplicity' quest too far? Food for thought ... 

And just for the joy of reminiscing, this was the piece I was working on at the time of my visit to Fondazione Sem in Pietrasanta, on a stone-carving retreat in the nearby Seravezza; a sculpture entitled "Pietra Santa". Happy memories ...

And, befitting the subject of this post, Inner Room, an alabaster carving I entered in the 2010 Brighton HOUSE Open Exhibition. The theme was "Regeneration"; this was my Artist Statement:  

Inner Room is about the inner space 

within the prolate spheroid -  the egg, symbol of new life -  

and the Möbius,

its continuous edge offering a constant and secure sanctuary: 

enter the calm of your inner room 

to reflect, to contemplate,

to regenerate.