Quotes about Sculptures

I hate all those celebrity sculptures like Tussauds, where everyone is dressed in spangly suits and they are all smiling. I enjoy doing digital work. I enjoy sculpting digitally. I've had my digital sculptures on covers of the top digital magazines. I really do think of them as post-minimalist sculptures, inspired in large part by some very early spacecraft that NASA built. I visited the Museum of Modern Art and viewed the exhibition of Picasso's sculptures, and I couldn't help but think about what it would be like to have a room full of school children explore Picasso's approach to making art. Sculptures permit me to create real volume One can touch the forms, one can give them smoothness, the sensuality that one wants. You do trust him, though, Giddon?' 'Holt, who is stealing your sculptures and is of questionable mental health?' 'Yes.' 'I trusted him five minutes ago. Now I'm at a bit of a loss.' 'Your opinion five minutes ago is good enough for me. What I like to do is treat words as a craftsman does his wood or stone or what-have-you, to hew, carve, mold, coil, polish, and plane them into patterns, sequences, sculptures, fugues of sound expressing some lyrical impulse, some spiritual doubt or conviction, some dimly realized truth I must try to reach and realize. I love my sculptures, and I was lucky I had them for 50 years because no one would look at them and I really liked having them around. They are more beautiful than anything in the world, kinetic sculptures, perfect form in motion. If you were going to make sculptures of them, the swivel poems would be disparate objects all attached with hinges and the prose poems would be small sheep wrapped in extra wool. Some of the most beautiful bird calls are cries of distress and fear....these sculptures are a way for me to express my cry. I began to stack my sculptures into an environment. It was natural. It was a flowing of energy. All my wire sculptures come from the same loop. And theres only one way to do it. The idea is to do it simply, and you end up with a shape. Art, after all, is traditionally displayed against vacancies: paintings on dun walls, sculptures in empty spaces, music in quiet halls. A lot of people don't realize the roots of Batman are really Latino. They don't go back to the bat god, the ones the Mayans had - they had one that was a 'bat man,' they had sculptures of him, literally they had bats down there - but the other, more relatively recent inspiration for Batman was Zorro. But Zorro was based on the California bandits. Joaquin Murrieta and Tiburico Vásquez. There could be a powerful international women's rights movement if only philanthropists would donate as much to real women as to paintings and sculptures of women. My art originates from hallucinations only I can see. I translate the hallucinations and obsessional images that plague me into sculptures and paintings. All my works in pastels are the products of obsessional neurosis and are therefore inextricably connected to my disease. I create pieces even when I don't see hallucinations, though. Modern language must be older than the cave paintings and cave engravings and cave sculptures and dance steps in the soft clay in the caves in Western Europe, in the Aurignacian Period some 35,000 years ago, or earlier. I can't believe they did all those things and didn't also have a modern language. Let us not be too much acquainted. I would have a man enter his house through a hall filled with heroic and sacred sculptures, that he might not want the hint of tranquillity and self-poise. When one makes sculptures of horses, one remembers all of that great relationship that humans had with them.....Even today one raises horses only for dressage, the races, for the pleasure of horseback riding. It has become an animal of romance, an animal of pleasure which has lost its utility in the West. Scale is very, very important, like the scale of a person is very important. It's to do with the size of our space, the fact they are big sculptures, they are still human scale. Cars are the sculptures of our everyday lives I learned about Chinese ceramics and African sculptures, I aired my scanty knowledge of the French Impressionists, and I prospered. The great artist Michelangelo claimed that his sculptures were already present in the stone, and all he had to do was carve away everything else. <br />Our understanding of identity is often similar: Beneath the many layers of shoulds and shouldn'ts that cover us, there lies a constant, single, true self that is just waiting to be discovered. The Parthenon is really only a farmyard over which someone put a roof; colonades and sculptures were added because there were people in Athens who happened to be working and wanted to express themselves. My paintings and sculptures, at first glance, may appear to be purely aesthetic; closer up, they are not. They hold a feeling of tentativeness, combined with a sense of arrival. No, women like you don't write. They carve onion sculptures and potato statues. They sit in dark corners and braid their hair in new shapes and twists in order to control the stiffness, the unruliness, the rebelliousness. Frank Gehry for instance likes to imagine his buildings as sculptures. I like to imagine my sculptures as architectural. As we manipulate everyday words, we forget that they are fragments of ancient and eternal stories, that we are building our houses with broken pieces of sculptures and ruined statues of gods as the barbarians did. We say to the British government: you have kept those sculptures for almost two centuries. You have cared for them as well as you could, for which we thank you. But now in the name of fairness and morality, please give them back.