A Quote by Edward J. Fraughton

Sculpture is a series of 3-dimensional shapes which, while fitting together, cause the perception of lines to the viewer, even where they do not exist. — © Edward J. Fraughton
Sculpture is a series of 3-dimensional shapes which, while fitting together, cause the perception of lines to the viewer, even where they do not exist.
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.
Regular geometry, the geometry of Euclid, is concerned with shapes which are smooth, except perhaps for corners and lines, special lines which are singularities, but some shapes in nature are so complicated that they are equally complicated at the big scale and come closer and closer and they don't become any less complicated.
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.
Power is the thing that holds a band of perception together, and a band of perception is life for those who perceive in that band. If the band of perception were to go away, they would not exist.
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.
So, in other words, how you respond to a sculpture, how a viewer sees the sculpture, is vital.
An exhibition is in many ways a series of conversations. Between the artist and viewer, curator and viewer, and between the works of art themselves. It clicks when an exhibition feels like it has answered some questions, and raised even more.
but paper and ink have conjuring abilities of their own. arrangements of lines and shapes, of letters and words on a series of pages make a world we can dwell and travel in.
I'm really creating abstract shapes and relationships that work together. They come together and give the illusion of reality, but they're really abstract shapes. If you look at individual shapes, they aren't the shape of anything, but together they give you the illusion of hills and sun and flowers.
I believe that from that Earth emerges a musical poetry, which is by the nature of its sources tonal. I believe that these sources cause to exist a phonology of music, which evolves from the universal known as the harmonic series.
With the exception of the geometrical series, there does not exist in all of mathematics a single infinite series the sum of which has been rigorously determined. In other words, the things which are the most important in mathematics are also those which have the least foundation.
I was fitting kitchens before I could afford not to - so I was still fitting kitchens whilst the first series of The Inbetweeners was coming out.
Know that for the human mind there are certain objects of perception which are within the scope of its nature and capacity; on the other hand, there are, amongst things which actually exist, certain objects which the mind can in no way and by no means grasp: the gates of perception are closed against it.
All the times I have suddenly realized that my parents are dead, even now, it still surprises me, to exist in the world while that which made me has ceased to exist
There are opposing forces in all living things. My work reflects this and stirs up a contrast of emotions in the viewer... perception versus annoyance. To the viewer who has reached that level of awareness, my work is no longer abstract, but very real.
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.
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