Skills – Vitreous slips stains
Like slush-puppy ceramics, such a nice effect of colours overlapping each other.
Context – Alexander Calder exhibition at Tate Britain.
Calders work is a delicate line of defined figures in a space, not a solid mass. “sculpture was no longer a static object for the viewer to walk around, inspecting it from every angle, but something the could itself rotate ad be experienced in space and presentation.” He brings sculpture to life through animation and flexibility.
“Sculpture can respond to, or alter its surroundings”
inspiration to start creating maquettes in wire to make quick and easy results Calders work was like his initial sketches up above in midair, like objects of the imagination in a higher place.
“Calder recognised that the ability to control movement was perhaps less fertile than the potentially infinite possibilities that opened up with free movement.”
“the idea of detatched bodies floating in space, of different sizes and densities…some at rest, while others move in peculiar manners, seem to me the ideal source of form.” He was coming out of the geometric forms into organic, calm and elegant atmosphere of relaxation, there is a timelessness about his work that made life feel that it was in slow motion or paused. Moving very slowly.
Calder related to his work with music, they’re open compositions with experimental composers. Calder was able to define an architectural space rather than occupy it, his sculptures reflected an era of optimism and new appetite for modernity.
Ideas – Questioning – why extrusions?
I am thinking about the placement/presentation of my work, working with materials/metals to hang/create a moving sculpture and environment, following/analysing the viewer rather than the viewer analysing the sculpture.