Cast Piece - Comments and critiques please. :-)

coolntn · Post by **coolntn** » Sun Sep 28, 2003 9:11 pm

Any comments very welcome...specially critiques.
First 'intended sculptural' piece.

Thanks

Russ

Claudia Whitten · Post by **Claudia Whitten** » Mon Sep 29, 2003 9:02 am

I think its a very interesting piece. I like the shape of the piece. Looks like metals to me. What size is it and does it stand on its side?
Tell us about it.....Claudia

Suzan · Post by **Suzan** » Mon Sep 29, 2003 9:45 am

The design is stunning, as well as the finish. It has the effect of an ancient Egyptian artifact. It is glass, isn't it?

I would have omitted the grooved lines on the left and right sides, if it could be avoided.

Cheers,
Suzan

coolntn · Post by **coolntn** » Mon Sep 29, 2003 10:05 am

The piece is about 10" long X 6" tall and about 1.5" deep.

I've not made a 'stand' for it yet, but it's sleeping on its back in the pic.

Yes, it is cast glass with a brushed brass brush finish.

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Grooves on the sides and around the eye...when I was designing it, I wanted it to have a somewhat modern 'manufactured' look thus their presence. I'm an appliance designer and I guess just have the hard habit of getting rid of lines...they are in everything I do.

John Kurman · Post by **John Kurman** » Mon Sep 29, 2003 10:25 am

I was going to comment upon this piece last night with first impressions, but thought, best let the brain chew on this awhile. First impressions first. Our minds, finely honed by millions of years of evolution, like hypertrophied athletes, are demanders of pattern fits. And my pattern fit is â€œbirdâ€

coolntn · Post by **coolntn** » Wed Oct 01, 2003 1:03 am

John....

Thanks for taking the time to think about the piece. I appreciate the insightfulness

Yes, those dog gone 'stylistic' lines. For some reason they really appeal to me. The 'napkin' sketch I did of the piece included those and as I thought about it as I was sculpting...I did debate adding or leaving those off. I think the piece would not contain any character by removing and having 'smooth' flowing surfaces...I wanted to break them up...for whatever innate reason of mine

You did give me some ideas though

Well appreciated !

John Kurman · Post by **John Kurman** » Wed Oct 01, 2003 9:15 am

then I'd explore that aspect further. Hmm. Here it becomes difficult as to what to suggest as to how to proceed.

Best for both of us (and anyone else reading) is for you to explain your idea, motive, reason for the existence of this piece. Is it important to you in some way? Does it have to do with some type of emotional/intellectual/spirituo-pyschological investigation? Is it a statement? A message? A thing in itself? Is this just an object you can't get out of your head? Something you have been obsessing about? A fetish? A passion? A curiosity? An idle whim?

Without this information, any further comments of mine are somehwat informed but ultimately mere "rank speculation".

In this case I have no basis for evaluation save what informs me in my own impoverished works. I find I am a "process" kind of guy, a "problem solver" who does not generally start with an idea or concept and generate an object, but rather start with a question, and then seek a solution. An idea or concept may be used as a framework for the question, but I tend to lose sight of the idea, concept, and object fairly quickly. This might be viewed not so much as a kind of formal investigation, but rather trying variations and fuques on the object or idea, and seeing if there is an "answer" in the "solution space" of all these different things. (If you're curious, the answer is generally that there is an answer, but not the one I liked or intended. The piece "fails" for me, and this starts a new round of questions. Its very frustrating. But then, as Charles Ray once said "Sculpture is hard. Sculpture is f*cking hard").

So let's say I really, really like those lines. Where can I run with them? Perhaps breaking the piece into three pieces, and making the lines actual joins or a negative space. This is one approach. A second approach would be to vary the planar surfaces of the piece at the lines, so that you have ledges or clefts separating the piece, really exagerate 'em.

I have to ask myself: How come I like those lines so much? You got your initial answer, and then there is the answer you get through investigation. Either way, you may not like the answer.

Gale aka artistefem · Wed Oct 01, 2003 10:40 am

Its very frustrating. But then, as Charles Ray once said "Sculpture is hard. Sculpture is f*cking hard").

Hey John.....it looks like you have wrestled with the beast and come full circle. Just as I have.

I"m pretty clear about the personal reasons I make stuff and it is mostly about the process. Never ends up where I start from........which is ok. At some point it is simply up to the viewer and that's where I say take it or leave it. The choice is theirs.

But you're da*%"nm right about it being hard to bring a piece of successful artwork into the room!

Gale

PDXBarbara · Post by **PDXBarbara** » Thu Oct 02, 2003 1:41 pm

I like the lines.
I like the sculpture.
Barbara

coolntn · Post by **coolntn** » Fri Oct 03, 2003 7:27 am

Barbara, thanks for the comments

I like the lines too

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John,

To start answering your questions about the piece: I have to be honest in saying that this piece is no more than simply a ‘thing in and of itself’. No more, no less was the design intent of the piece other than to be shaped like an eye.

I wish I could give some fantastic story of it’s beginning, development and current state, but I cannot. The piece was created out of simple boredom…a slow day at work…a period in which to doodle and explore shapes, lines and form.

I think if anything and as perhaps as artists should do…is to create works that people will think about in their own way. Perhaps everyone will have a different view and come to their own conclusion about the piece. Is this not a part of the component of art ? With classical music I hear quite often that a piece of music will evoke a story and that listeners ‘know’ what the story is, they say the meaning is clear. I say ‘poohie’ to that. I say you cannot expect people to understand a piece of art or music as the creator intended it to be understood unless you have some advanced knowledge before ever seeing or hearing the piece. It is up to the individual to formulate their own ideas…create their own storyboard.

Knowing what I know now and with your comments and insight I think I will try and approach a new piece that starts with a question or idea instead of purely form and shape.

For your ideas on breaking the piece up….you did read my mind somewhat. The original sketch of the design was indeed separated into 3 or 4 individual pieces. Separated by some space as you suggested. However, I revised that as I sculpted the piece for several reasons…all of which was for cost savings and material usage since this was basically a ‘first’ intended cast sculpture that I was unsure about. The lines came about as a way to capture my original design intent of the piece being separated as best done with practicality of cost and materials savings I had to work with. And I think I did that well…often times design elements can be tweaked to fit that practicality and it works for me.

Anyway, hope that clarifies the piece a little more.

Any other comments truly welcome.

Russ

SAReed · Post by **SAReed** » Fri Oct 03, 2003 1:46 pm

I see it as an eye and I like the lines. It makes it look "industrial". After reading John's post I can now see the bird and the lines do seem to take away from the bird. BUT...in my mind it's an eye. I like it.

PDXBarbara · Post by **PDXBarbara** » Fri Oct 03, 2003 10:12 pm

SAReed wrote:I see it as an eye and I like the lines. It makes it look "industrial". After reading John's post I can now see the bird and the lines do seem to take away from the bird. BUT...in my mind it's an eye. I like it.

The EYES have it. I can't see the bird.
BB

coolntn · Post by **coolntn** » Fri Oct 03, 2003 11:02 pm

Yes, it was an attempt to give a modern look to an old idea...the lines help the piece succeed in that respect. 'Industrial' is what I was after. It was not intended to be a realistic eye...enough artists have succeeded there in many different mediums.

Thanks peeps

Russ

Barbara Cashman · Post by **Barbara Cashman** » Sat Oct 04, 2003 4:00 pm

coolntn wrote:
Yes, it is cast glass with a brushed brass brush finish.

How did you achieve that finish? It's wonderful! - Barbara

coolntn · Post by **coolntn** » Sat Oct 04, 2003 7:41 pm

Well actually as I said about the finish...I used a small cleanup brush (i don't know what else to call it) that is brass.

I just continued brushing the surface with the brass bristles and it started applying to the "raised" areas of the surface.

Slight problem which I'm working on...this finish comes off easily when washed with water. I've got another post on this issue hoping for some insight...otherwise I've got plans on trying to solve it myself to make it a permanent finish.

Russ

Tyler Frisby · Post by **Tyler Frisby** » Wed Dec 03, 2003 8:59 pm

Kinda Looks Like the eye of Ra, The Egiptian Sun God

Remember Star Gate the movie with Kurt Russel, the bad guy Is RA

WarmGlass.com

Cast Piece - Comments and critiques please. :-)

Cast Piece - Comments and critiques please. :-)

Comments...

Thanks !!! :)

If you really like the lines...

Words of wisdom

Piece.

Piece

Re: Comments...

Finish

Sun God Look Alike