Moonlight is sculpture.
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.
What sculpture is to a block of marble, education is to the soul.
So, in other words, how you respond to a sculpture, how a viewer sees the sculpture, is vital.
Until film is just as easily accessible as a pen or pencil, then it's not completely an art form. In painting, you can just pick up a piece of chalk, a stick, or whatever. In sculpture, you can get a rock. Writing, you just need a pencil and paper. Film has been a very elitist medium. It costs so much money.
It is not hard to understand modern art. If it hangs on a wall it's a painting, and if you can walk around it it's a sculpture.
Painting, sculpture and architecture are finished, but the art habit continues.
One never wants to do anything that's going to break that 'sculpture of the character' that's been done so far, or make anything that's been done so far become illogical in any way, so you always want to try to connect when you're doing a series of films that has a continuous character.
Good painting is the kind that looks like sculpture.
The thing with sculpture is, 90% of the time, when I pass a piece of sculpture, it's in public or somewhere, and it's just, how inconvenient that that's there. It takes up so much room, and it's so oppressive.
I was a Fine Art major. You do a bit of everything until the final year, when you specialise. I did pencil drawing and sculpture. It's a pretty well-rounded fine art education. I thought that it was viable option to make a living out of art. I'm not sure if I was thinking realistically; maybe I never was. But it had great appeal.
Sculpture is made with two instruments and some supports and pretty air.
I've noticed a lot of younger artists have less fear of doing different sorts of things, whether it's various types of music, or gallery artists moving between video and sculpture and drawing.
Writing, film, sculpture, music: it's all make-believe, really.
You wouldn't ask Rodin to make an ugly sculpture, or me to make a film with an ugly woman.
When Socrates was about 30, and his father was long dead, he was still pursuing the art of sculpture, but from necessity, and without much inclination.
Whether you listen to a piece of music, or a poem, or look at a picture or a jug, or a piece of sculpture, what matters about it is not what it has in common with others of its kind, but what is singularly its own.
The Bauhaus strives to bring together all creative effort into one whole, to reunify all the disciplines of practical art - sculpture, painting, handicrafts, and crafts - as inseparable components of a new architecture.
Sculpture will last a lot longer than painting.
Some psychiatrist told me I was interested in sculpture because I dealt in flat surfaces and needed something with dimension.
I love my ink. They all have a meaning. I'm very strong in my faith, so I wanted to have some religious images. I've got Pieta, a Michelangelo sculpture of Mary holding Jesus after he came off the cross, on my shoulder. A sacred heart on my arm. Musical notes because I love music. The compass on my chest is there because church is my compass.
I'm a classically trained painter, and I was an illustrator in New York working with Fortune 500s companies as well as the NBA and the Olympics. I first got into sculpting when I created a sculpture based on a painting I had done for the 1984 Olympics.
You have to create your life. You have to carve it, like a sculpture.
I came from an intellectual Parisian family. My father was a watchmaker; my mother was a housewife. We discussed politics, art, sculpture - never fashion.
The arts community is generally dominated by liberals because if you are concerned mainly with painting or sculpture, you don't have time to study how the world works. And if you have no understanding of economics, strategy, history and politics, then naturally you would be a liberal.
Presently, I really admire Rebecca Warren, the artist. She continues to keep creating wonderful sculpture. And I met her, and she is really cool.
I never studied sculpture, engineering or architecture. In fact, after college I applied to seven art schools and was rejected by all seven.
Somebody informed me recently that the key to every art, from writing to gardening to sculpture, is creativity. I beg to differ.
Writing for me is quite a plastic form, a kind of mental sculpture, although that sounds weird. It acquires its character and its depth as it goes along.
Since the Gothic, European sculpture has become overgrown with moss, weeds - all sorts of surface excrescences which completely concealed shape. It has been Brancusi's special mission to get rid of this overgrowth and to make us once more shape-conscious.
The paintings to me are always canvas; sculpture has always been metal, though I have made sculpture in wood, also.
Sometimes people damage paintings or sculpture because they love it. They throw their arms around a statue in a fit of hysterical passion and it falls over.
How do you make the timelessness of inert, silent objects count for something? How to use the, in a way, dumbness of sculpture in a way that acts on us as living things?
I have seen Colonial churches since I was very small, Colonial painting and polychrome sculpture. And that was all I saw. There was not a single modern painting in any museum, not a Picasso, not a Braque, not a Chagall. The museums had Colombian painters from the eighteenth century and, of course, I saw Pre-Columbian art. That was my exposure.
Every other piece of industrial design is a pot or a dish or something insignificant. But when you have a chair, it's like a sculpture of a person: it's alive. It's big. You can't miss it. It's a 'look at me!' item.
