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THE VERSATILE WORLD OF SCULPTURE
Integrating sculpture into corporate and private settings
SCULPTURE HAS LONG BEEN THE EPITOME OF GOOD TASTE AND CONSIDERING THE INTEGRATION OF SCULPTURE INTO CORPORATE OFFICES, OR PRIVATE RESIDENCES PROVIDES AN AVENUE FOR CREATIVE AND UNIQUE REPRESENTATION OF PUBLIC OR PRIVATE SPACES.
When taking the leap to integrating 3-dimensional art, a number of both practical and philosophical considerations warrant examination, ranging from understanding the nature of sculpture to selecting appropriate locations and lighting. Blending the philosophical with the practical can pave the way to a new appreciation for aesthetics in the versatile world of sculpture.
THE NATURE OF SCULPTURE Sculptures enter our every-day space in a very different way from paintings. Sculptures become a part of the space we inhabit as human beings because of their 3-dimensional quality. A sculpture will change its appearance in relation to how we move with it. As a matter of fact, the complexity and nature of the piece only becomes apparent as a result of our movement within its proximity. Take an abstract sculptural representation of a human figure, for example; place it near a window
with light reflecting on it, then walk around the piece. As you look at it from different angles, different shapes will become dominant and as light reflects on different portions of the sculpture, yet more shapes will move to the forefront to capture your attention, much like walking around a human being, the features change with the angle of observation. Paintings occupy a single space within a frame and may represent many objects within that framed space. The only way to look at the painting is by changing your distance from it. This may alter your perception of the objects in the painting slightly, but you cannot walk around them. You cannot walk into the painting and observe these objects from different angles.
A sculpture, on the other hand, becomes part of shared space. It is self-contained in 3 dimensions and as so wonderfully expressed in the book The Spectrum of the Arts: Time and Space in the Human Experience of Art by Joseph Bloom ‘wraps space around itself’. Bloom further states that, “To see the entire sculpture we are forced to ‘dance’ with it (move in relationship to it) through time. Though we are the one moving, we have a silent partner (the work’s form) that reveals its presence through its secret choreography.”
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