Sculpture inside and Out

Sculpture inside and Out

Sculpture inside and Out

Sculpture inside and Out


So it is impossible to detach the form from
the idea, for the idea only exists by virtue
of the form.

Alice went through the looking glass. Lucky Alice! Does not everyone wish to know what goes on behind the looking glass? Is this not perhaps the origin of all our needs of a third dimension? The painter must suggest it to us convincingly by his two-dimensional design, otherwise we find his picture flat and lifeless. This need of depth, which satisfies some fundamental desire of man, may well have been the subconscious force that gave birth to sculpture--something we can touch and feel all around.

Sculpture may be almost anything: a monument, a statue, an old coin, a bas-relief, a portrait bust, a lifelong struggle against heavy odds.

If one of God's children finds he cannot see or feel life in other terms than those of form, if he tries to escape and live outside of this obsession and fails, he generally calls himself a sculptor. Whether he can set the world aglow by his work or not is beside the point. He knows that his daily lot will be a searching for form, it may be in stone, marble, or bronze; it will be a constant analyzing of life itself in terms of three-dimensional silence. But it is certain that if he accepts this yoke of labor he will plow deep under the surface of life, and he will experience miracles and give thanks that he is alive and awake and aware.

Sculpture is a parable in three dimensions, a symbol of a spiritual experience, and a means of conveying truth by concentrating its essence into visible form. Today we call it the interrelation of spatial design, and we look for its quality of volume, light, and shade. It must be the reflection of the artist who creates it and of the era in which he lives, not an echo or a memory of other days and other ways.

If an artist is ready to give his mind and strength to exploring and de-

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