Most of the time I look for realism in the rendering of the volumes of my sculptures. maybe because it is not easy to create something resembling with the material I use, it is very present and its modeling sometimes very marked do not always favor the reproduction of specific volumes.
It can also be a help, when I find an ornament that perfectly fits a desired shape. This is not always the case and it often takes that I struggle with the metal to bend to my will with more or less success. In this case the saw and the hammer are widely used.
The quadriptych I just finished (The four seasons) has absorbed a lot of energy and I find myself now in a phase of doubt a little stronger than those that I go through in principle after having finished a masterpiece (from my point of view)
We must take advantage of these periods of doubt to question ourselves, as if on the way that we follow as artists we were at a crossroads without any sign gives us indication of the direction they lead us and sometimes even in the fog without knowing exactly how many paths are available to us.
But let's get back to this post. I finally chose to explore a path that comes out of realism and leaves a little more room for formal invention. Another way to exploit the possibilities offered by ornamentation with probably more flexibility. By choosing the theme of grotesques I remain in a certain context always focused on the period of the Renaissance. It's been a long time since the Grotesque period fascinated me and I wanted to explore it other than by amassing documentation.
So I started my first mascaron of Asian and Grotesque inspiration. A sort of mashup.
As far as the process is concerned, I think that the series of photos below is sufficiently telling and does not require many explanations.
It can also be a help, when I find an ornament that perfectly fits a desired shape. This is not always the case and it often takes that I struggle with the metal to bend to my will with more or less success. In this case the saw and the hammer are widely used.
The quadriptych I just finished (The four seasons) has absorbed a lot of energy and I find myself now in a phase of doubt a little stronger than those that I go through in principle after having finished a masterpiece (from my point of view)
We must take advantage of these periods of doubt to question ourselves, as if on the way that we follow as artists we were at a crossroads without any sign gives us indication of the direction they lead us and sometimes even in the fog without knowing exactly how many paths are available to us.
But let's get back to this post. I finally chose to explore a path that comes out of realism and leaves a little more room for formal invention. Another way to exploit the possibilities offered by ornamentation with probably more flexibility. By choosing the theme of grotesques I remain in a certain context always focused on the period of the Renaissance. It's been a long time since the Grotesque period fascinated me and I wanted to explore it other than by amassing documentation.
So I started my first mascaron of Asian and Grotesque inspiration. A sort of mashup.
As far as the process is concerned, I think that the series of photos below is sufficiently telling and does not require many explanations.
