Sam Bell | 1 Feb 10:01 2011
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Re: Inttroducing myself

Hi Clive – I’m sure there is a lot in what you say here. As I said, I am
rather structure orientated, and everything from Cezanne to Constructivism
means more to me than most other movements. However, I have to say that I
would include Minimalism in the ‘structure-orientated’ category, and there
is very little Pop Art that does not evidence a strong sense of form and
structure (add ‘design’). Abstract expressionists? I see the same complex
structures here, and take the same pleasure from it, as those complex cliff
forms. This is me, I guess.

Yes, abstraction implies ‘abstraction from’, in one sense.  Two British
abstractionists: Barbara Hepworth once said she gained her sense of form, as
a child, from driving in the car with her dad across the undulating English
countryside. Ben Nicholson (her husband) recommended that artists should
spend time on the golf course! (undulating form?). This is part of what I
see in cliff structures. Actually, there is nothing new in what I say here.
Anyone who visits St Ives in Cornwall, where Moore, Hepworth and Nicholson
lived (Gabo too) can see the cliff/stone/natural structures there that are
part of the foundations of their work. The whole St Ives school, even in its
1950s renewal was all about 'designed composition'. (I contrast this with
post-modernist artists in part because their focus is often elsewhere).

My other point about the action of the human brain on the field of vision –
from birth we are ‘shapers’. It’s what the senses do, and I’ve loved those
aspects of 20th century art that go directly to the principle of form, and
to ‘forming’, and to a kind of instinctive sense of what is ‘right’. This is
part of abstraction for me too, and those cliff structures appeal to this
aspect of my mind.

Sam

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bany International | 1 Feb 11:24 2011
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Re: Inttroducing myself

Very very interesting discussion - tx all !

In Zimbabwe I met with Victor Fire and this sculpture I like very much

If of interest..............
http://picasaweb.google.com/banyinternational/VictorFireInOurGardenTheNether
lands#5391331712457065634

bas

Sam
*************
Hi Sam,
With regard to back to school, I refer you to Rodin:

``Where did I learn to understand sculpture?
In the woods by looking at the trees, along
roads by observing the formation of the
clouds, in the studio by studying the model,
everywhere except in the schools``
Rodin

 
s yettaw | 1 Feb 14:49 2011
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Re: Sorry


To be on the safe side, if you decide to carve it, I would not work on it indoors, as the H2S levels could
acummilate to unsafe levels.
if it is a more porous stone, it will hold more gas.  To monitor it with a personal gas monitor, would not be
accurate or safe, as the dust would affect your readings. if the stone smells of sulfur befor you even cut
it, then I would be concerned. As a bird bath I would guess the sulfur would disapate, but if you are worried
place a small piece of the stone in a container of boiling hot water, say 2 times the size of stone. let it sit
and cool in the water and leave it over night.
Have a second container of the same water sitting with nothing in it. 
get some PH paper and test the 2 water samples. if the one with the stone becomes more  acidic over night than
the other, then do not consider it safe.

 

That would be the cheap way to test it.

Stephen yettaw 		 	   		  

Marg Gurr | 1 Feb 16:30 2011
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Re: Introducing myself

I find this discussion quite interesting, but could one of you please make a clearer distinction regarding
the parameters of “structuralism”.  Without further delving into it myself (which I WILL do
later) the difference I’m sensing is like the difference between a portrait vs. wallpaper.  I
don’t mean that in a derogatory manner, it’s just that there seem to be many more
“isms” in the dialogue of art now than when I studied it, and sometimes I feel the hair can be
split too many times.
As for “undulation”  my perception is definitely one of fluid movement, but is that preclusive
of structural focus?  My partner’s sister was a painter who was fascinated by rock formation and
spent considerable time on the subject.  I have a few of her originals that I’ll try to post (FB) later
today that may assist at least me in clarifying the aforementioned concepts. Many thanks.
marg

Marg Gurr | 1 Feb 16:43 2011
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Michal's rocks

http://www.facebook.com/album.php?aid(4636&idt4824580&l15a04a3c
Here’s a link to the painting I mentioned in my previous email.
marg

Jax Thompson | 1 Feb 16:46 2011

New

Hi Everyone
I am new to this discussion group, I am also fairly new to sculpting, I work 
with limestone,local stone, Eaton blocks (aerated concrete) and cement 
sculptures, I recently learn't how to weld to make larger structures. I live in 
Cyprus on the edge of a national park, in the mediteraenan (not the USA one ) it 
is an amazing place to sculpt and stone is just  lying around. I have had a few 
shared exhibitions here on the Island, a great experience and moral booster, 
very stressful but would recommend it to any one who has the opportunity. I am 
looking forward to having your help with any future projects,  and learning from 
the group. 

Jax  

      

colobrie | 1 Feb 18:12 2011
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Re: New

Welcome to the list Jax,

the list is a treasure trove of information on sculpture & techniques ,

Maybe you have a website or Facebook page so we can see your sculpture, always nice to see other's work

Colm O'Brien

http://en-gb.facebook.com/colm.obrien1

 
Posey Melson | 1 Feb 18:21 2011
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Re: Sorry

Thanks, Stephen

      

Sam Bell | 1 Feb 20:23 2011
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Re: Ludlow stone festival 21st and 22nd of May

>
A question: is electricity available for any electronic work (cutting;
sanding, etc)?
Sam

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Sam Bell | 1 Feb 20:29 2011
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Re: Introducing myself

>  Hi Frederic
>
Being French (You are French?!) you have taken my casual use of the word
'structure' to refer to the philosophical movement.
I use the word, admittedly rather loosely, mainly to denote the aspects of
any thing, or work of art, that gives visual form/coherence. A rockface
'coheres' in a certain way - it's a set of structures, which we see and
respond to. A work of art can take structure as its main interest. Hence,
Cubism, say.
You are right about 'undulating' - but I would call this a 'structure' too:
it is a form that underpins, or is part of, the coherence of the work, or,
for that matter, the beauty of the hills, as Nicholson implies.
I should perhaps be using 'composition' instead at times, but that is too
close to 'design' for what I mean.
Sam

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Gmane