A Quote by Chuck Close

I love sculpture, and minimal sculpture is really my favorite stuff, but I wasn't very good at it, and I don't think in a three-dimensional way. — © Chuck Close
I love sculpture, and minimal sculpture is really my favorite stuff, but I wasn't very good at it, and I don't think in a three-dimensional way.
I really don't have a theme when I start a sculpture. The rock guides me to the final sculpture. I think that is true for many creative sculpture artists.
First of all I think of puppets as sculpture. They are sculpture that moves. You could label it any way you want, but for me it always starts in my mind as a sculpture.
A well-designed home has to be very comfortable. I can't stand the aesthetes, the minimal thing. I can't live that way. My home has to be filled with stuff - mostly paintings, sculpture, my fish lamps, cardboard furniture, lots of books.
Man is really not freeing many aspects. He is dependent on his social circumstances, but he is free in his thinking, and here is the point of origin of sculpture. For me the formation of the thought is already sculpture. The thought is sculpture.
In Giacometti's work, the armature has once again become the life-line of the sculpture, and also, he's brought back to sculpture a nervous sensitivity which the 'pure carving' side of sculpture can lose sight of altogether.
I started doing sculpture rather than painting. I was halfway through my degree, and I hadn't really done any introduction courses in sculpture... I'd missed all the technical stuff. I didn't really know how to weld or forge or carve or model. I'd sort of evaded all those technique classes, so I had no technique.
Interfacing street sculpture in public space creates an installation environment that turns regular space into art space. Signs and people and everything around a street sculpture-they all become part of it. A two-dimensional work, being confined to surfaces, doesn't have as much of a capacity.
If sculpture can really deal with the body, because we all inhabit ourselves, and if sculpture can really do that, which it is supposed to be able to do, and through it ask questions, philosophical questions, about being, I think these are all things we work on, all of us in our different ways, so perhaps somewhere in there, there are moments where dumb objects can speak.
I really have to think of myself as a painter first because sculpture came much, much later. As a student at the Art Institute in Chicago, I simply never became involved in sculpture. I did prints, and I did paintings.
It could be that people want to consume sculpture the way they consume paintings - through photographs... I'm interested in the experience of sculpture in the place where it resides.
Once I have the finished sculpture, I’ll put it out on the street or in nature or somewhere where it interacts with the environment. Really it’s kind of the idea of turning the street into a stage and this sort of urban theater has a life of its own. If you have creative drive, and you need to manifest it, then you need some sort of medium to do that through. For me, it worked out with sculpture, and tape just is a means of doing sculpture.
I paint - I tend more to abstraction - but not as much as I would like to because of time. I would love to do sculpture - I've toyed with the idea of fitting in a sculpture course.
The peculiarity of sculpture is that it creates a three-dimensional object in space. Painting may strive to give on a two-dimensional plane, the illusion of space, but it is space itself as a perceived quantity that becomes the peculiar concern of the sculptor. We may say that for the painter space is a luxury; for the sculptor it is a necessity.
The viewer becomes aware of himself and of his movement through the plaza. As he moves, the sculpture changes. Contraction and expansion of the sculpture result from the viewer's movement. Step by step the perception not only of the sculpture but of the entire environment changes.
After painting comes Sculpture, a very noble art, but one that does not in the execution require the same supreme ingenuity as the art of painting, since in two most important and difficult particulars, in foreshortening and in light and shade, for which the painter has to invent a process, sculpture is helped by nature. Moreover, Sculpture does not imitate color which the painter takes pains to attune so that the shadows accompany the lights.
I had no intentions of going into sculpture but found that sculpture was just an extension of drawing.
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