form and proximity

Sculptural and spatial practice for me has always been more expansive than Kraussian quadrants. Simply; sculptural and spatial practice encompasses a wide range of philosophical and artistic interrogations that break down/emphasise/piece together how humans perceive and feel dimension and expressions of form* that can include, painting, drawing, photography etc.

British artist and painter Clare Woods is a great example of an artist working in a medium traditionally considered outside sculpture, but whose practice is formally sculptural. Woods uses paint as a means of expressing the three-dimensional value of form using techniques that emphasise the structure of an image (see below video).

I think it’s important to recognise that historical as well as contemporary sculptural and spatial practice is consistently an expression of form relative to human and human-scale concepts of space and time. As such, form is perceived and experienced at a human level as both a 2D as well as 3D phenomenon relative to distance/proximity. I can’t help but wonder why, at least in Australia, formal distinctions that individuate sculpture from drawing from printmaking from photography etc. continue to persist despite contemporary social shifts in understanding about dimension/space-time concurrently with acknowledgement of the advent of the Anthropocene.

NB. I consider that there is a distinction between the philosophical and artistic interrogation of the dimension and expression of form (sculpture and spatial practical) and the rendering/depiction of form to create the illusion of dimension (broadly printmaking, drawing and painting).

close your eyes, eat an ice cream

For every thing that is, there is an alternative or an exception and to be exceptional is to be chaotic. Straightforward and filled with colour, the alternative is immediate and unmediated by cognitive intervention. It's hard to imagine what this reality would looks like, until you see Baseball Girl (1964) by Karl Wirsum.

Baseball Girl, 1964, Karl Wirsum

Baseball Girl, 1964, Karl Wirsum

And then you realise that, of course, the manifestation of this idea in art production is a style in which all elements and senses are saturated. And, of course, it is not influenced by a single source but by many, evoking within figurative images a sense of intersectionality (the theory that the many aspects that make up the state of being a human are interrelated and cannot exist separately from each other). 

What's more surprising than the complexity of Baseball Girl is how accessible the alternative and exceptional is: just close your eyes and eat an ice cream. It's there, ready for you to experience in every action.