The artwork we viewed on
Wednesday May 11, 2016 during our class session was a sculpture. It was a piece
of Art in our school gallery. It was made of clay. It was not so obvious for us
in the beginning to guess the material, because it also looked like wood. We
spent a while looking and trying to confirm if it were wood or clay. But
finally we realized some scratches on the bottom corner of some pieces of the composition
that were showing more that the material was clay. Also, we had a classmate to
confirm that. This sculpture was modeled with the clay. It was a composition
made of about 25 tridimensional geometric forms placed side by side and
embedded one another. They all had the same depth 16 inches, and top plan
surfaces of about 30 inches X 30 inches. It was definitely a non-representational
artwork.
There was a positive space
that was the ensemble formed by the association of the geometric forms, opposed
to the negative space that was the space around. The contrast between the two
spaces (positive and negative) was strong and was stressed by the choice of
color made by the artist. It was a monochromatic composition in brick orange
color contrasting with a white-gray surrounding floor and walls of the gallery.
This choice made by the artist gives the artwork a very impressive settlement
in its environment. The texture was between roughness and smoothness, and the
whole composition was presenting a pattern of a repetitive brick orange boxes.
Our looking of this artwork
was a great experience and showed us something special and amazing about non-representational
artworks. When we saw the work at the first, it did not mean anything to us.
But when we started making a close look for a while, then a sudden association
began to take place between the art composition and us, and we were submerged
in a trip with the artwork. The artist gave to the whole composition the shape
of a square. The elements in the middle had much bigger space between them,
while the boxes in the boundaries were much closer, and were making the unity
of the whole work. The elements were embedded one another, and we spent a while
trying curiously to figure out if all of them matched. The artist made sure
that they do not match all and this aspect was giving us more excitement to
determine those which match and those which do not match. It was like a puzzle.
We were also pushing our imagination further, trying to conceive a scenario
where the composition was a city, and the boxes were buildings, and the space
between them were streets. What would be the traffic? What kind of social
interaction would this enable?
Our experience with this
artwork was very great, and it gave us a rich perception about non-representational
artworks.
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