Visual Perception of Body Language in Sculpture
I have always been fascinated with the human figure as portrayed in works of art. As a beginning sculptor, therefore, I immediately set about attempting to express my own artistic designs using the human form to which I had been drawn. My concern then was to capture movement. Later, as I began working on my BFA, my main objective was to render the figure accurately from observation. Most of my works during this period were devoid of emotional content. I focused on the formal issues of composition, space, and balance. Upon finishing my BFA, I questioned the importance of using the human form in my work. After all, I could have studied formal elements through the use of abstract forms. With further analysis, I came to realize that the human figure is very important to me because it is able to communicate very directly with people. The viewer can easily relate to figurative sculpture because people immediately recognize the subject. Viewers share common experiences in their lives which allow them to relate their emotions, such as love and solitude, to the attitude or posture of the human subject of the work.
With this in mind, my recent work has focused on such universal feelings as love and melancholy, in particular the sense of restrictions in life. The work carries more emotional qualities via physical expressiveness of the rendering of the figure sculpturally.
Now as I further explore my work, I begin to see the need to create more immediacy in communicating with the viewer, a directness of raw emotion through the use of the figure. In order to achieve this, I will focus on body language. I intend to explore and make use of the inherent expressiveness of the human body to visually communicate, and to create an immediate empathy with the viewer, based on common experience.
The content of my work focuses on examining the emotional and psychological relationships between humans and the relationship of a human being with his/her inner self. I have adopted the human figure as a potentially successful means of expressing these relationships. The language or symbolism I use in my work is derived directly from body language. This universal language is direct and immediate. Body language, posture, attitude, and tension of the figure are a primary perception. The immediacy of communication and directness of emotions through the use of body language are my main concerns. The major issue I am dealing with is trying to invest those same emotions into my sculpture. My intention is to endow the sculpture, which consists of a static unchanging pose and is created from an inert material, with a recognizable emotion and expressiveness that the human figure inherently carries.