47 posts tagged “sculpture”
Rather than sculpting, Jim Denevan's work with sand is freehand drawing, a process that involves a low tide, a long stick and a lot of walking. Each work takes him an average of 7 hours, and he often walks as much as 30 miles. No measuring aids whatsoever are used, and from above Denevan's drawings look almost like crop circles. Soon after he's through, the tide comes in and washes away all of his work.
I feel an indescribable ecstasy and delirium in melting, as it were, into the system of beings, in identifying myself with the whole of nature.
Concrete Poetry, 2002
Polystyrene & plaster
Created by Pablo Valbuena:
This project is focused on the temporary quality of space, investigating space-time not only as a three dimensional environment, but as space in transformation.
For this purpose two layers are produced that explore different aspects of the space-time reality. On the one hand the physical layer, which controls the real space and shapes the volumetric base that serves as support for the next level. The second level is a virtual projected layer that allows controlling the transformation and sequentiality of space-time.
The blending of both levels gives the impression of physical geometry suitable of being transformed. The orverlapping produces a three-dimensional space augmented by a transformable layer suitable to be controlled, resulting in the capacity through the installation of altering multiple dimensions of space-time.
These ideas come to life in an abstract and geometric envelope, enhanced with synesthetic audio elements and establishing a dialogue with the observer.
Using a complex array of perforations, the pavilion’s surface allows light to pass through creating shifting patterns, which–during specific times of the year–transform into the legible text of a poem. The specific arrangements of the perforations reveal different shadow-poems according to the solar calendar: a theme of new-life during the summer solstice, a reflection on the passing of time at the period of the winter solstice. The time-based nature of the poem–and the visitor’s time-based encounters with it–allow viewers to have different experiences either seeing a stanza of the poem or getting the whole poem. All of these possible experiences are equally valuable and have meanings unique to the individual.
This technique has the potential for producing particular effects and meanings within an architectural environment. Without the use of a source of power other than the sun, this project uses light and shadow to push the boundaries of communication and experiential delight.
Cornhenge is the nickname of a publicly funded art installation in the city of Dublin, Ohio. The installation consists of 109 concrete ears of cornpositioned in rows and standing upright in a grassy field. Sculpted by Malcolm Cochran, the field of corn was commissioned by the Dublin Arts Council and completed in 1994.
The display site, named the Sam and Eulalia Frantz Park, was originally farmed by Sam Frantz, an inventor of several hybrid corn species, and was donated to the city in the late twentieth century. The art installation is partly a tribute to Sam Frantz and is also intended to remind visitors of Dublin's agricultural heritage. Along the west side of the park, near several Osage-orange trees are signs that describe the project and explain hybridization.
Three different molds were used to cast the concrete ears of corn, which stand about 8 feet (2 m) tall. The breed of corn represented is known as Corn Belt Dent Corn, a double-cross hybrid variety.
Soon after completion, the art installation became a target for criticism, joking, and creative pranks, such as painting portions of the sculptures. Due to its odd setting in the shadow of business parks, and having been funded by tax money, the display was given the nickname Cornhenge by the public.
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