I did this painting last year, but now is back into the RCA studio. I want to make an sculpture from this painting inspired by Anthony Caro.the shapes of this painting are from still life, my intention is to deconstruct this painting and make it into separate planes leaving space in between each plane, for this model/prototype Anthony Caro and Morandi are my influences.
I Will do a model of this painting with cardboard(flat shapes)and some shapes that Will not be flat they Will be with Porexpan. I will focused on subtle gradations of hue, tone, and objects arranged in a unifying atmospheric haze.tMorandi had this way of painting his still life.
Bits of capboard Will be bent, buckled and twisted before being welded together to articulate space and create rhythm and movement.
HOW EMPTY SPACE AND LINEARITY COULD TRANSLATE INTO SCULPTURE.
Research of materials. porexpan, cardboard and plaster. For this piece I would like to use a material that is like silver and easy to bent.
Research of Anthony Caro and Morandi.
The Metaphysical painting . This was to be his last major stylistic shift; thereafter, he focused increasingly on subtle gradations of hue, tone, and objects arranged in a unifying atmospheric haze, establishing the direction his art was to take for the rest of his life.
Sir Anthony Caro (British, 1924–2013) was a sculptor best known for his abstract constructions made of steel, bronze, lead, and wood. He trained at the Royal Academy Schools in London from 1947 until 1952, while working as an assistant to the sculptor Henry Moore. Caro began welding steel into abstract forms and painting them in one primary color.
In the late 1960s, Caro created a series of Table Pieces, which resist becoming models for larger works by incorporating tool parts that relate to the scale of the human hand. Throughout the 1960s and 1970s, Caro was concerned with how empty space and linearity could translate into sculpture. Emma Dipper (1977)—part of a series made of Emma Lake in Saskatchewan, Canada—resembles a steel line-drawing that seems to float in space, without a base and center. Caro avoided complete abstraction by maintaining a connection with the body; his work curves into organic forms, maintains life-size scale, and invites the viewer to walk around to understand the relationship between sculpture and space.
His work in the mid-1980s embraced this literalness more fully in work such as Night Movements—a sculpture broken down into four separate parts that asks the viewer to connect these parts—resembling physical movement, into a whole sculpture.
his practice stimulated a significant extension of his sculptural vocabulary. As he explored the formal possibilities of such materials as brass, silver, ceramic and paper a new fluidity began to emerge in his monumental steel works. The large sweeping shapes of Night Movements, which belie the actual intransigence of the steel, demonstrate this new direction in his work.
Night Movements was Caro’s first multi-part sculpture in twenty-six years, the only previous example being The Horse 1961. It comprises four free-standing units, created from boiler cases, bollards, propellers and other pieces of maritime ephemera Caro found in the scrapyards of Chatham and Portsmouth. These bits of metal have been bent, buckled and twisted before being welded together to articulate space and create rhythm and movement. The relative positions of the units are determined by the use of a template supplied by the artist. Although each section of the sculpture has a distinct character, they remain related to one another in terms of colour, technique, scale and formal language. The careful siting of each piece in relation to the others is intended to ensure that the space between the different units becomes part of the sculpture. The spacing invites the viewer to walk among the parts, sensing their relative positions, changing scale and appearance. The viewer’s physical involvement with space is a central concern in Caro’s investigation of the architectonic aspect of sculpture, and is a major theme in the work of such twentieth century sculptors as Henry Moore and Richard Serra.
The work reflects Caro’s interest in existing works of art as sources of inspiration. In this case, the pictorial source of the sculpture’s emphatic vertical orientation, its large cupped planar elements, and its dark green stained surfaces have been ascribed by Paul Moorhouse to the tree motif found in the paintings of the French nineteenth century realist painter Gustave Courbet. There is, however, no literal equivalence between Caro’s work and its model. Instead, Caro has taken the essence of the figurative original and transformed this into an abstract sculpture whose forms are fully resolved in their own right.
Caro’s sculptures tend to be large in dimension, linear in form, and open or sprawling in character. Though some of his work adheres to a rigid, rational geometry (e.g., Sailing Tonight, 1971–74), his characteristic sculptures suggest lyrical movement, apparent weightlessness, improvisation, and chance. His Ledge Piece (1978), for example, commissioned for the East Building of the National Gallery of Art, Washington, D.C., seems to spill over its high perch from the pull of gravity. Caro came to be regarded as the most important sculptor since Smith and exercised great influence over a younger generation of British sculptors. He took the lead among modern sculptors in resting his sculptures directly on the ground rather than on the traditional pedestal. His sculptures of the 1970s were composed of massive, irregular sheets of rough steel, but in the 1980s he returned to a more traditional style, making semi-figurative sculptures in bronze. Caro taught at St. Martin’s School of Art in London from 1952 to 1979. He was knighted in 1987, and in 1992 he received the Japan Art Association’s Praemium Imperiale prize for sculpture