Sculpture knowledge

Grasping the Space Mood of Stainless Steel Sculpture

Content abstract: The space emotion created by the stainless steel sculpture through its own shape has an impact on the audience. Sculptors can grasp the space emotion through the unity of sculpture expression, the repetition of form matrix and the comprehensive use of multiple elements, so as to better realize the purpose of serving the people’s spiritual pursuit.
As the saying goes, “He who is close to a friend will be red, and he who is close to a friend will be black.” This shows that people are easily affected by the space environment. Sculpture, as a three-dimensional plastic art, expresses the artistic spirit with form. Excellent sculpture can spread the artistic appeal to the occupied space environment through the undulating and changing shape, forming a powerful aura. Let’s call this aura the spiritual field of sculpture. The information it conveys not only brings aesthetic experience to the audience, but also arouses resonance in the heart and has educational significance. This highlights the importance of sculpture creation, and provides a direction for further research on the method of sculpture creation, that is, how sculpture can more effectively communicate with the audience through the grasp of space emotion to obtain more spiritual experience.

As we all know, works of art lose their meaning of existence if they leave the audience’s appreciation. The same is true of a sculpture. The spirit it conveys directly affects the people who communicate with it through the spiritual aura. Maybe it is a cry from the depths of the soul, maybe it is a plain and easy-going spiritual communication, or it is a striving force. People unconsciously baptize the spirit while appreciating the sculpture. If you pay attention to the city’s street garden, you will find some animal sculptures. A few goats, a group of monkeys, or a big cat. When these sculptures suddenly appear in the space, something magical happens. The masses are more willing to stay in this environment, or even play around the sculptures. The space suddenly becomes more active, which shows that sculpture can fully mobilize and improve the mood of urban public space. In the religious sculpture of all ages, the control of the sculptural shape on the space spirit is more obvious. Whether it is the sculpture art inside and outside the Christian church in the Middle Ages, or the various statues in the Oriental Buddhist grottoes and temples, when facing these religious sculptures, the audience inevitably becomes devout. Why is there such a change? This is because, through the presentation of sculpture, a powerful aura is formed, and strong religious emotions force the hearts of the audience to communicate with each other. It can be seen from this that the grasp of space emotion becomes the key to the display of sculpture spirit space.
So, for sculptors, how should they use their professional abilities to ensure the effective expression of sculptural space emotion? The space emotion can’t be seen or touched, it is just an environmental atmosphere, so it can only be realized by means of tangible carriers. This carrier is the shape of sculpture, which is used to grasp the intangible spiritual space. As Laozi pointed out in the Tao Te Ching that there is a dialectical relationship between being and not, for a sculpture, modeling is a means, while the invisible spiritual space established from this is its purpose. The author believes that the sculptors should give full consideration to the aesthetic cognitive characteristics of people when considering the sculpture shape. The visual elements are displayed in the way of overall perception in the human sensory reflection. That is, in human visual perception, each visual element acquired by human will be organized into a meaningful overall structural form. Based on this, sculptors can promote the embodiment of the sculpture spiritual field in the following ways.
First of all, the unity of the expression methods of each part of the sculpture is conducive to the overall coordination of the space artistic atmosphere. For example, in the large-scale group sculpture of the Memorial Hall for the Victims of the Nanjing Massacre by the Japanese Invaders created by Wu Weishan, the spirit of sadness and indignation is the focus of its performance. In order to strengthen this feeling of the audience, the artist uses the overall perception of the audience here. In the group sculpture, the techniques of expression of “family break and people die”, “escape” and “cry of the enemy” tend to be unified, and all adopt the image modeling and plastic trace processing to express the theme of grief and indignation. During the tour, the audience will receive a visual baptism every time they pass through a sculpture. Because of the consistent techniques of expression, a continuous impression is formed in cognition, which deepens the cognition of the overall space. The large-scale clay sculpture “Rent Collection Yard” made a nationwide sensation, and its more than 100 life size figures vividly described the landlord’s rent collection in those years. Because all of these figure sculptures are portrayed in a figurative and realistic way, emphasizing the dramatic exaggeration of the characters’ expressions and expressions, and using props to create realistic scenes, the unity of sculpture processing techniques fully creates a space for grief and anger and conflicts.

Secondly, the repetition of the form matrix is used to strengthen the expression of sculpture space emotion. When appreciating sculpture, the audience has a limited scope of vision, and usually gets a fragmented visual experience. In the same space, a single visual element itself will form a single force field in perception, and multiple visual elements will form a visual connection attraction between each other, forming a whole visual form. If a certain modeling language is perceived many times, it will help to form a grasp of the overall cognition of space. In the work “Land” by the British sculptor Anthony Gomley, the artist wants to express his respect for the land that bears the lives. He densely placed tens of thousands of clay figurines in an underground parking lot to create a powerful spiritual space. Just looking at the simple form of each clay figurine, the aura formed when tens of thousands of small clay figurines with the same treatment method poured into the audience’s eyes like a flood after repeated with this simple and crude shape as the matrix of form. 192 groups of sculptures in Vigeland Sculpture Park in the northwest of Oslo, Norway, show the whole process of human beings from birth to aging and death. The sculptures in the park are symmetrical and harmonious in shape, forming a powerful spiritual space together. The matrix in the form of human body shows the rich emotions in the life journey, creating an artistic legend.
Thirdly, multiple elements are comprehensively used to strengthen the establishment of sculpture space mood. As a whole, the space is composed of color, material, touch and sound. The comprehensive use of these elements can enhance the space experience of the works. It is more obvious in contemporary sculpture creation, especially in some works with installations. For example, in the Door Series by young sculptor Yue Yanna, the shape of the door is combined with dialogue, screaming, knocking, barking and other sounds, so that the audience can feel the information conveyed by the works from the perspective of vision, touch and hearing. The audience enhanced their experience of space emotion by touching with their hands, listening to the sound, looking for the source of the sound, and peeping in the cat’s eye on the door.
The above is a little experience of stainless steel sculpture manufacturers in creating the space mood of stainless steel sculpture. In a word, it is of realistic significance to discuss the spiritual space of sculpture. Sculpture controls the spirit of the place space through the display of its shape, and plays an important role in the emotional expression of the place. The broad masses of people need substantial and positive spiritual pursuit. Sculptors can make people feel the national complex, regional identity and the pulse of the times through the influence of the sculpture spiritual field. The works created by sculptors in the new era are not only for the collection of museums and galleries, but also for the spiritual pleasure of the general public. They actively carry the responsibility of spreading excellent culture and ideas by means of creative sculpture forms.