Best 107 quotes in «sculpture quotes» category

A painting or sculpture not modelled on any real object is every bit as concrete and sensuous as a leaf or a stone... but it is an incomplete art which privileges the intellect to the detriment of the senses.

Art used to be painting, sculpture, music, etc, but now, all technology has become art. Of course, this form of art is still very primitive, but it is slowly replacing reality.

A sculptor is a person obsessed with the form and the shape of things, and it's not just Ihe shape of any one thing, but the shape of any thing and everything.

A second later, when he looked up at me, we were face to face, and again, even under these circumstances, I was struck by how good looking he was, in that accidental, doesn't-even-know-it kind of way. Which only made it worse. Or better. Or whatever. "Yup", he said, as if there'd been any doubt, "you're in there, all right." "I was warned, too,"I told him, as he stood up. "I just saw that sculpture, and I got distracted." "The sculpture?" He looked at it, then at me. "Oh, right. Because you know it.

As when, O lady mine, With chiselled touch, The stone unhewn and cold, Becomes a living mould, The more the marble wastes, The more the statue grows.

At a certain point, I just put the building and the art impulse together. I decided that building was a legitimate way to make sculpture.

I come to the point of using steel, and simply cannot. It's like the marriage proposal of a perfectly eligible man who just isn't loveable. It is wood I love.

I don't want to make plop art — sculpture that just gets plopped down in places. I wouldn't want to litter every corner of the world with my sculpture.

I consider space to be a material. The articulation of space has come to take precedence over other concerns. I attempt to use sculptural form to make space distinct.

I don’t have a theoretical language for music. I’m really inspired by sculpture, so I like to say, ‘you’re not making music, you’re creating a space. You’re building a room, putting some objects in it, and seeing what happens to the objects over time.’

I find drawing a useful outlet for ideas for which there is not time enough to realize as sculpture... And I sometimes draw just for its own enjoyment.

[I have a] way of making narrative sculpture, where first you make a text and out of that text you make objects. [...] I start with a story and then I make sculpture from that story, it's just that the stories become more and more elaborate.

I have titles floating around in my head; I have sculptures floating around in my head. It's like a collage.

I lay there silently, hoarding my small dignity. I did not ask about the gate or the closet. I did not question the bedtime ritual where, on the cold bathroom tiles, I was spread out daily and examined for flaws. I did not know that my bones, those solids, those pieces of sculpture would not splinter.

I learned about Chinese ceramics and African sculptures, I aired my scanty knowledge of the French Impressionists, and I prospered.

But I don't think that sculpture belongs in everyday life like a table does, or like a chair.

I love my blocks of marble, always piling up in the yard like a flock of sheep.

I love looking at sculpture, but there's some sort of spell that's broken with it.

In a way, a garden is the most useless of creations, the most slippery of creations: it is not like a painting or a piece of sculpture-it won't accrue value as time goes on. Time is its enemy' time passing is merely the countdown for the parting between garden and gardener.

I love sculpture, and minimal sculpture is really my favorite stuff, but I wasn't very good at it, and I don't think in a three-dimensional way.

In my opinion, everything, every shape, every bit of natural form, animals, people, pebbles, shells, anything you like are all things that can help you to make a sculpture.

I really became convinced I wanted to tell the story of the real-life model for the Degas sculpture 'Little Dancer Aged 14,' which was unveiled in 1881, the Belle Epoque.

If we now seek the spiritual significance of the technique of Michelangelo we shall find that his sculpture expressed restless energy.

I think about sculpture all the time. I work at it for ten to twelve hours a day. I even dream about it. If as a result I was only to produce something that everyone immediately understood I would't have been thinking very profoundly.

I think that any sculpture is a response to its environment. It can be brought to life or put to sleep by the environment.

It is weight that gives meaning to weightlessness.

It could be that people want to consume sculpture the way they consume paintings - through photographs... I'm interested in the experience of sculpture in the place where it resides.

I usually have several things on the go. Whether it is my own drawings for the next work that I am working on while a sculpture is being fabricated or several works at different points in production.

Im sick of the foodies who need every morsel that goes into their mouth to be a Picasso painting, a Giacometti sculpture, a Proust novel, evoking the world with each crumb.

It is well with me only when I have a chisel in my hand.

I tried to use the questions and answers as an armature on which to build a sculpture of genuine conversation

It's a stage with four lights clamped to it with walls made out of plywood. And then my name's in the center. It's the type of thing that can be made over and over again. It's not like a Michelangelo sculpture.

It's Twitter's combination of simplicity and complexity that is astonishing in the same way that minimalist sculpture was inspiring and enlightening.

Like in the paintings, there has to be moments that are completely right to be able to feel how wrong it is when the space gets flattened or the space collapses. It's the same with the technique in the sculptures: for some to feel really wrong, you have to have parts be really right.

Painting and sculpture, labour and good faith, have been my ruin and I continually go from bad to worse. Better it would have been for me if I had set myself to making matches in my youth. I should not be in such distress of mind.

Man is really not freeing many aspects. He is dependent on his social circumstances, but he is free in his thinking, and here is the point of origin of sculpture. For me the formation of the thought is already sculpture. The thought is sculpture.

My sculpture is very personal; for years my subjects were family and close, close friends.

Painting and sculpture help other people to see what a wonderful world we live in.

Moonlight is sculpture.

Painting, like water, takes any form. Paint is a film of pigment on a plane. It is not real in the way that gravity-bound sculpture is real. It is, however, real.

Sculpture and painting have the effect of teaching us manners and abolishing hurry.

Remember, this is back in the 1940s, and it was sculpture which probably - in my instance probably came out of the European influence, [Alexander] Archipenko and things of that sort, [Jacques] Lipchitz to a certain extent, and I was influenced by those things and attempted to do work that emulated their style.

Sculpture is a series of 3-dimensional shapes which, while fitting together, cause the perception of lines to the viewer, even where they do not exist.

Sculpture is, in the twentieth century, a wide field of experience, with many facets of symbol and material and individual calligraphy. But in all these varied and exciting extensions of our experience we always come back tot the fact that we are human beings of such and such a size, biologically the same as primitive man, and that it is through drawing and observing, or observing and drawing, that we equate our bodies with our landscape.

Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.

Sculptures permit me to create real volume One can touch the forms, one can give them smoothness, the sensuality that one wants.

Sculpture is made with two instruments and some supports and pretty air.

Sculpture is not the mere cutting of the form of anything in stone; it is the cutting of the effect of it. Very often the true form, in the marble, would not be in the least like itself.

Some of the most beautiful bird calls are cries of distress and fear....these sculptures are a way for me to express my cry.

Silence is as full of potential wisdom and wit as the unshown marble of great sculpture. The silent bear no witness against themselves.