A conceptual sculpture artist is often concerned with production of artworks that are abstract in nature and may be products of unconventional thinking. The sculptor should always have the idea well detailed before starting the process of making it. The idea may involve bending some or all of the conventional rules adhered to by other experts in the study of art.
Most ideas are more often depicted as they appear to the sculptor and are always abstract in appearance. The forms may to a small percentage resemble other known objects in nature like humans or animals but will greatly be distorted to express the abstract nature. In some cases the represented form can totally be unfamiliar to the general public. The end product of the thoughts may totally be unfamiliar to the general public who do not appreciate art.
The artists should master the art irrational thinking. In the process of exercising their freedom of expression, sculptors are bound to come up with new ideas. This only happens if they practice irrational thinking since rational. Conceptual artists are therefore regarded as mystics instead of the obvious rationalists. Emphasis laid on this irrational behavior prevents repetitive forms that may occur midway through the conception and the implementation of their work.
Expression forms are generally not ranked and as such there are no superior forms. There is a limitless choice of forms that can be adopted in bringing out the idea in mind. Countless variations can be made when coming up with artworks, some of which may not be conventional. The conventional order of carrying out processes are altered to a great extent and often leads to altering of perceptions to come up with bizarre forms.
When experts see the artworks of their colleagues, they would also try to perceive it in their own way. This experience creates a chain of thoughts that flow through the mind of the viewer. Since an artwork is worth a million words, the viewer is bound to misinterpret what the originator had in mind. Perception is not objective or impartial, this is the main cause of differences in viewer opinion of what may be going on.
The concepts of concern to sculptors may sometimes be based on the material used in making the works. A sub-class of conceptual works is one based on material used. On other occasions it may be the process that is undertaken to produce the form itself. Wood, soapstone and other hybrid materials can greatly be employed in coming up with the final product.
The main intention of the sculptor is to find a way into the subconscious of the observer. In many occasions, the observers may not be sure of what to make of the work and may not be sure of how to describe it. This action would stimulate the viewer to expand their creativity levels, and understand the language of communication between the observer and the sculptor.
A conceptual sculpture artist has to be very innovative when exploring possible working materials. New composite materials have been formulated by such innovations to facilitate easy modelling, even drying and better aesthetic values. Constant learning is encouraged by exhibitions that set up new ideologies in experts of common interest.
Most ideas are more often depicted as they appear to the sculptor and are always abstract in appearance. The forms may to a small percentage resemble other known objects in nature like humans or animals but will greatly be distorted to express the abstract nature. In some cases the represented form can totally be unfamiliar to the general public. The end product of the thoughts may totally be unfamiliar to the general public who do not appreciate art.
The artists should master the art irrational thinking. In the process of exercising their freedom of expression, sculptors are bound to come up with new ideas. This only happens if they practice irrational thinking since rational. Conceptual artists are therefore regarded as mystics instead of the obvious rationalists. Emphasis laid on this irrational behavior prevents repetitive forms that may occur midway through the conception and the implementation of their work.
Expression forms are generally not ranked and as such there are no superior forms. There is a limitless choice of forms that can be adopted in bringing out the idea in mind. Countless variations can be made when coming up with artworks, some of which may not be conventional. The conventional order of carrying out processes are altered to a great extent and often leads to altering of perceptions to come up with bizarre forms.
When experts see the artworks of their colleagues, they would also try to perceive it in their own way. This experience creates a chain of thoughts that flow through the mind of the viewer. Since an artwork is worth a million words, the viewer is bound to misinterpret what the originator had in mind. Perception is not objective or impartial, this is the main cause of differences in viewer opinion of what may be going on.
The concepts of concern to sculptors may sometimes be based on the material used in making the works. A sub-class of conceptual works is one based on material used. On other occasions it may be the process that is undertaken to produce the form itself. Wood, soapstone and other hybrid materials can greatly be employed in coming up with the final product.
The main intention of the sculptor is to find a way into the subconscious of the observer. In many occasions, the observers may not be sure of what to make of the work and may not be sure of how to describe it. This action would stimulate the viewer to expand their creativity levels, and understand the language of communication between the observer and the sculptor.
A conceptual sculpture artist has to be very innovative when exploring possible working materials. New composite materials have been formulated by such innovations to facilitate easy modelling, even drying and better aesthetic values. Constant learning is encouraged by exhibitions that set up new ideologies in experts of common interest.
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