And I did. I tried. I went and worked all night long in a factory that the workers said was haunted and there was not a chance they would be there during the night. To my thinking, they didn't want to be there during the day either, so what's the difference? This was the first time that I had set myself the goal of conciously expressing my feeling in a sculpture. Or maybe not the first time, but definately the most acute. I've always made what I see, and let my 'inner' come out through the process of creating. This time I reversed it, and purposefully pursued building emotion.
The sculpture that I call 'wounded hunter' or 'fledgling minotaur' (it remains untitled) was the first result of this. It was modeled in one long night and, though my curiosity was somewhat piqued by the sculpture, it wasn't placated. I didn't find it pitiful enough, in fact I find it quite strong, particularly in relation to the staff. What I wanted to show was of no importance, what I couldn't help but show was what materialized. The 'fledgling minotaur' is a mature figure, exhausted maybe, but certainly surefooted.
As a sculptor, you study carefully your object, but also concentrate equally as carefully at the space that the object outlines. The space that the sculpture encompasses. My training as an architect imbedded this habit into me. The negative space of the fledgling minotaur is an irregular polygon or a trapezoid, in fact it's almost a perfect parralelogram and therefore quite...stable, unchanging. 'Poleplanter' however thrusts at us a scalene triangle...a skewed delta. Change.
This is not to say any of these decisions were made purposefully. They weren't. I'm identifying a couple of the basic adjustments that were subconsciously made from one piece to the immediate next
