A Quote by Henry Wadsworth Longfellow
Sculpture is more divine, and more like Nature, That fashions all her works in high relief, And that is Sculpture. This vast ball, the Earth, Was moulded out of clay, and baked in fire; Men, women, and all animals that breathe Are statues, and not paintings.
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That sculpture is more admirable than painting for the reason that it contains relief and painting does not is completely false. ... Rather, how much more admirable the painting must be considered, if having no relief at all, it appears to have as much as sculpture!
All works of nature created by God in heaven and on earth are works of sculpture.
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.
The paintings to me are always canvas, sculpture has always been metal, though I have made sculpture in wood also.
The paintings to me are always canvas; sculpture has always been metal, though I have made sculpture in wood, also.
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.
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.
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.
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.
[I have a] way of making narrative sculpture, where first you make a text and out of that text you make objects. [...] I start with a story and then I make sculpture from that story, it's just that the stories become more and more elaborate.
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 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.
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.
This clay, so strong of heart, of sense so fine,Surely such clay is more than half divine--'Tis only fools speak evil of the clay,The very stars are made of clay like mine.
Edgar Degas's famous sculpture, 'Little Dancer Aged Fourteen,' served as my muse for 'The Painted Girls.' I came upon a television documentary on the work, and as someone who held the sculpture in high esteem and who largely considered ballet to be the high-minded pursuit of privileged young girls, I was struck by what I would learn.
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.
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