7.8.21 Ensembles
Considering my research into installing my knitted sculptures horizontally, Dexter suggested that I look at Penelope Curtis' book on sculpture. She divides sculpture into open, closed, vertical and horizontal works, but then also discusses what she calls 'ensembles'. My plan for my sculptural assemblage is that it will be all of these things, so maybe it will call it an ensemble?
Curtis says:
'...in attempting to understand how the previous four come together (open closed vertical horizontal) I have chosen to look at the ways in which they intersect.; in which horizontal crosses vertical, and open joins closed.' (2017, p252)
She then goes on to discuss what she calls 'a fourth dimension' which, in addition to relating time to place, consider 'questions of the spectator's movement: procession and progression, address and circumnavigation.' (Ibid)
She then describes a number or artworks which, she says. ' ...use the senses to activate their space as well as making it their subject' (Curtis, 2017, pp 249-259).
I feel as if I want the presence of a spectator to activate the space, and my sculptures. Curtis goes on to say 'Such installations are animated by their viewers as well as by the sculptures which disperse or condense the spatial environment around them.' (ibid, p266)
I find this very thrilling. The idea of my work being animated by the viewer and it in turn animating the space I feel parallels my thinking about Shelley's Frankenstein, including the consequences of bringing something inanimate to life.
She goes on to say that considering the placing of the sculpture or installation, '..the way the figure is approached, and lit, the length of a direct or circuitous approach, the possibility of circumnavigation, all count.' (ibid, p266) She also describes what she calls 'entire spatial control' and goes on to talk about '...a more fully three dimensional reading of the figure in space.' (ibid.)
I definitely feel as if this is what I want for my final installation - a controlled, walk-through, walk-in installation, maybe so that it is also immersive?
Curtis says:
'...in attempting to understand how the previous four come together (open closed vertical horizontal) I have chosen to look at the ways in which they intersect.; in which horizontal crosses vertical, and open joins closed.' (2017, p252)
She then goes on to discuss what she calls 'a fourth dimension' which, in addition to relating time to place, consider 'questions of the spectator's movement: procession and progression, address and circumnavigation.' (Ibid)
She then describes a number or artworks which, she says. ' ...use the senses to activate their space as well as making it their subject' (Curtis, 2017, pp 249-259).
I feel as if I want the presence of a spectator to activate the space, and my sculptures. Curtis goes on to say 'Such installations are animated by their viewers as well as by the sculptures which disperse or condense the spatial environment around them.' (ibid, p266)
I find this very thrilling. The idea of my work being animated by the viewer and it in turn animating the space I feel parallels my thinking about Shelley's Frankenstein, including the consequences of bringing something inanimate to life.
She goes on to say that considering the placing of the sculpture or installation, '..the way the figure is approached, and lit, the length of a direct or circuitous approach, the possibility of circumnavigation, all count.' (ibid, p266) She also describes what she calls 'entire spatial control' and goes on to talk about '...a more fully three dimensional reading of the figure in space.' (ibid.)
I definitely feel as if this is what I want for my final installation - a controlled, walk-through, walk-in installation, maybe so that it is also immersive?
Curtis, P. (2017) Sculpture: open closed horizontal vertical New Haven and London: Yale University Press
