was (Re: creativity, gestalt, dreams)

["Jane A. Cadieux" <sculpture@zzzzzzzzzzzz>]

I agree here: I tend to carve figures, so I will start working a stone,
paying attention to some general ideas of composition, until I start to see
a shape coming out of the stone. So there is the predetermined thought that
I will be working a figure, and then the discovery of what position and
what emotion will come through. If I work too hard to try to make something
specific, my stone always seem to break off in just the wrong way.
I've been thinking about some of the things Norman talked about too,
especially since I'm just starting to probe my way into the art world. I
don't know if my sculptures will be appreciated in this day and age. So
much of the "modern" art I've seen is purely abstract, geometrical, almost
digital. But then, the one person I actually know who makes a living off
his sculpture does representational work (mostly animals). Is there anyone
on the list who has taken some kind of curator class? I wonder how hard it
is for museums to choose what might be "important" artwork for our times. I
guess what's important to me, in the middle of my busy (almost artificially
so) life are moments of clarity, simplicity, basic emotions and evocative
ideas. So I try to express these things through my sculpture. In fact on my
two works in progress, I had an actress friend of mine come pose for me
(once I had found my basic composition) so I could better interpret the
emotions that might accompany such a pose and see just how, for instance,
the different ways shoulders can be held, even in the same basic position.

This discussion is making me want to do some mask work again. I should look
into it. Particularly relevant this month, I guess. :)

-Jane

At 01:51 PM 10/12/2004, Clive Murray-White wrote: