sculpture shoot // PART A: OBSERVATION
sculpture shoot // PART A: OBSERVATION
The inspiration behind my fascination with sculpture really is in the process. With sculpture, the artist has to think backwards...imagine what he wants, chips away the unwanted, but be flexible with the error of chipping too much. Sometimes they'd make models of the inspired sculpture on a smaller scale, and place them in a container and add water to reveal only the parts they were working on chipping away as a guideline. This allowed them to see a negative block next to them in the water to figure out what angles to chip at next. It was a meticulous process, often only completed because there is a commission, so there is a lot of pressure to finish proudly. Today, as a general rule, we create and then hope someone will buy it. But it was a different standard when the arts started. But somehow the slow chipping process led to smooth surfaces with seemingly perfect finished edges. But the process embraced more of a “lean into your mistakes” approach than it lets on. Embracing imperfection and leaning into the flaws to see beauty is still as a general rule, my personal approach to creation.
Nothing about weddings goes perfectly, but when you lean into the changes, they still end up being some of the most beautiful and memorable experiences.
And moments of life after a wedding— the intimate dinners, the traveling, the traveling with a toddler and the stages of life that follow after the wedding day…those are all beautiful moments chipped away to create this individual sculpture that is your life story.
And that's what I want to capture through my art and personal projects. And for me, all of those life moments include a lot of flowers and candles. And what I live out with my family is reflected in my work for my clients. So that is what I want to share more of.
For this sculpture inspired series, there will be multiple parts. Starting with where I draw my inspiration, moving into how that translates into wedding inspiration, and then lastly, how it all ties into real life living.
The first part of this series is done in observation. Taking in what was done centuries ago, and learning their creative process. Studying their forms, their shapes, their composition. And just letting it sink in. No other intention. Just allowing instincts to be drawn to what I personally find beautiful, without trying to overthink it. Without judgement. Without intention of turning it into something concrete. In the observation phase, I don't collect my thoughts of how I want to execute my inspiration necessarily...so I'm not collecting in an intentional pattern--even though a pattern can be extracted.
