Clay, wax, molten metal – to work toward any concept in such media is to be tripped up on the first step of the journey by the pre-existent inherence of the lump of matter in hand. The traditional sculptor’s attitude toward this challenge occurs somewhere within a continuum, framed on the one side by a will to absolute technical mastery tending toward ever more exultant variations of realism, and on the other by a more recent opposing orthodoxy in which truth-to-materials is all.
Surface tension is a molecular economy of particles tending toward an inherent order – an ideal form. What is surprising about this is that it is a physical property of inert matter that looks, for all the world, like some kind of microcosmic aesthetic preference. I read meaning into my vocation by way of having my hand guided, my eye illumined and my mind changed under this presiding influence of matter.
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