Today I was thinking about the visual tension created by combining painting and sculpture. I was able to many different types of outcomes that I am going to review on this text, I have to say that I am excluding from this analysis those sculptures that have a coating of painting meant to protect them or to give them a certain finish, those tinted by nature and also those with mirroring materials as I think they deserve a separate analysis.
1- The life-like sculpture
For me, this is a pretty “straightforward” approach with no tension between painting and sculpture. it seems to me that artists use the direct association as a starting point to develop their own ideas, I think most of the times this kind of sculptures resemble “living things” and in many cases are even made from living things. This is a very broad category that includes stuffed animals, war models, toys, replicas, store mannequins, wax models of celebrities and giant humans inside of a gallery. In this case, The resemblance of the piece (both texture and 3D shape) is the main ingredient and artists use it in many ways in order to achieve different results.
2- The realistic 3D model
I think this category is very special and quite unique, mainly because this type of objects do not have to deal with the restrictions of materiality.
3- The painted sculpture
These are pieces were the sculpture clearly acts as the dominant element and the depicted image rises as a subproduct that covers the surface, in my opinion, this is the most common and boring outcome. A common example of this would be embodied by the countless painted cows spread around the world, in this case, there is almost no tension between image and sculpture as the first is created to “enrich” the second.
4 – Functional and ornamental objects.
The “Portrait of Joella”, a collaboration between Dalí and Man Ray.
So a building has the shape of a building and it is covered by the image of a building. I also was thinking about my approach as For me the image tends to be the foundational element while the 3D form tends to adapt to it.
I am also thinking about the restrictions that a flat image imposes over a tridimensional form. But maybe this is just one of many approaches…
Anyway. it seems that this tension is actually a great asset for expression as it challenges the rules of physical reality.
So maybe I just need to explore this tensions between image and 3D form and how they are connected with anamorphic representation as it might be a fundamental charcteristic embebed inside modern visual culture.