Category Archives: Sculpture

India monsoon rains suspend travel. Progress map.

India visit Q415

India visit Q415

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Tathagata Vairochana

Tibet, 14th century, Gilt bronze inlaid with gemstones, Height 50.5 cm

Tibet, 14th century, Gilt bronze inlaid with gemstones, Height 50.5 cm

Source: Museum Reitberg catalog pg. 18, read 2013-9-23

Based on Tibetan texts “Tathagata Vairochana sits at the center of the universe and also sits at the center of the Five Transcendental Buddha’s – the personification of the Five Wisdoms.  In a cosmological system these are allocated five colors – white, blue, yellow, red, and, green – and the five elements – ether, water, earth, fire, and, air.

The Vairochana performs the dharmachakra mudra with both hands – the wheel of doctrine. A wedge shaped diamond points straight out of his head and represents the genuine truth”.



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Cédric Le Borgne

Placed at Cologny roundabout

Placed at Cologny roundabout


Sculpture by : Cédric Le Borgne






Description by sculpture:

A l’image de ses Voyageurs qui parcourent le monde, Cédric Le Borgne invite chacun à porter un regard nouveau sur la réalité quotidienne, à s’élever, à rêver. Abolissant les frontières, son travail d’exploration des espaces est sensible, sa poésie s’immisce avec subtilité dans tous les lieux. Libre de toute contrainte formelle, il passe de la sculpture de grillage à la photo ou à la vidéo, de l’installation pérenne à la performance instantanée, du street-art au web-art.« Je travaille avec le réel et à partir du réel »

Cédric Le Borgne recherche avant tout à penser et engager l’œuvre dans un mouvement, un espace-temps, un contexte vivant, sans a priori sur la nature des espaces: intérieurs, extérieurs, hyper-centres, banlieues, non-lieux… tous ont leurs spécificités, leurs poésies, plusieurs existences, visibles ou invisibles, à sublimer. L’environnement, dans sa réalité vaste et multiforme, offre à l’artiste un champ infini d’exploration. La nature, luxuriante ou désertique, très présente dans les premières œuvres (tableaux, gravures – Origines) reste un sujet de préoccupation et d’inspiration (La biodiversité rend heureux).

L’espace urbain, terriblement quotidien, devient aussi un terrain de jeux et de création: plus encore qu’ailleurs, l’artiste est intégré dans la réalité, dans sa réalité, et dans celle de la ville, parfois belle parfois sordide. Il la sublime et la transcende, mais sa recherche n’est pas uniquement esthétique ou sensitive, elle est aussi sociale et politique: la ville est le territoire du « vivre ensemble ». L’artiste acteur dans la cité révèle les contradictions, percute les convictions, interroge les consciences, mais aussi invite à la rencontre, au dialogue, à l’échange. Le Fauteuil, performance utilisant une vitrine, expérimente un rapport intime et interactif avec la rue en créant des rencontres imprévisibles entre et avec les passants. C’est aussi de cette expérience que naîtra l’installation Les Naufragés: Cédric Le Borgne observe dans la rue une femme sans domicile fixe muette, repliée dans une position proche de celle d’un singe.

Son travail précis de mise en scène et de lumière donne à ses personnages de grillage une vie, une magie particulière. La transparence du matériau crée une cohésion totale avec le décor, s’affranchissant de tout cadre. L’art de Cédric Le Borgne ouvre le regard, offre la possibilité d’un lien, subtil et libre, entre ciel et terre, entre rêve et réalité, une poésie du quotidien.


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Jacques Lipchitz thoughts

Interview questions to Jacques Lipchitz (1891-1973 – Lithuania – sculptor). Reached Lipchitz after listening to DVD produced by UK based Society of Portrait Sculptures that interviewed Vlasta Prachaticka. She had cited the influence of Marino Marini on her work. And one of the people that Marini had met in NY (according to Wikipedia) was Jacques Lipchitz (wiki and interview).

Extracts from interview:

– what moves me:

What I liked from Cezanne was his belief in the potentiality of the human being. And [Cezanne] wanted to exalt that. Its not a new feeling in the human being. Its an old feeling. But every time he can do only a little bit more. Making new conquests. Having the assurance that he is going ahead. I see in Cezanne, a jump towards the affirmation of this feeling. Its vigorous. Its moving. Everything is in it. It has the will to be a human being. He doesn’t want to imitate just nature, like the academician or even the impressionists. The impressionists were very naturalistic painters with a technique that was revolutionary. The technique, the finding of Chevroi [source: wiki that is recreating sensation in the eye that views subject through method of small, thin, brush strokes to convey color vibration] … With these techniques Cezanne said he would like to make an art which is as eternal as the art of the museums. This affirmation of the human potentiality is what moves me most.

– lesson from Rodin:

Rodin made sculpture with parts of body missing. What is so fascinating about broken statue? It is because a part is missing. That missing part gives a mystery. You want to reconstruct it to complete it. That activity in your mind gives you a certain attraction to the sculpture. That was meaningful when I understood that. Therefore sought to add mystery to recipe of making a sculpture. I decided to add mystery to my sculpture but wanted to make a complete sculpture with mystery in it.



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Contemporary sculpture and tools


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Musée Rodin audio commentary notes

Rodin’s goals:
* repetition and regularity, balance of light and shade, and geometry in body posture.
* absence of clothes and symbols makes the alleghory timeless (Gates of Hell)
* Cohesion, balance, and, beauty
* Assembly of dematerialize form parts into fresh forms/assemblages/configurations
* form more important than figures

(1) Object 33 on tour – Cohesion, balance, beauty. From 1900 cracked new assemblages. Same group of figures at different angles such as the three Adam’s atop the Gates of Hell. In object 33 figure juxtaposed with branch adding a touch of nature that gives emphasis to repetition and addition of depth.

Composition (object 33) went against principles of Academy at the time. In Classical thinking on sculpture composition was central. And the link between the part and the whole was a cornerstone. Hierarchy was to be established between each figure. And within each figure between the different parts.

Rodin broke tradition. His composition was additional. He placed all the features on the same level. He cared little for joins and stitching. He juxtaposed opposites such as female body and male torso. Contrasted material and colors. Allowed himself great freedom with assembly. And showed a predilection for hands and heads. All he cared for was cohesion, balance, and, beauty.

(2) Assemblage – putting together existing work to create fresh work. Perhaps reflection of ornamental sculptors (many of whom worked with Rodin) who constructed more than one component of each piece. Looked at both lines that formed the figures but cared also for empty spaces between figures. Arrangement of forms in space such that when well modelled or formed figures approach each other they would then form groups themselves.

(3) Object 39 – Meditations – homage to Hugo and his inner voice whispering in poet’s ear. Liked that so much that damaged object’s left knee, right leg, arm so as to prevent the inner voice/body from leaving Hugo.

(4) Marble treatment is illusionist. Sought to render appearance of fabric such as lace, flowers, hair in surface texture. Rodin plays with ill defined borders between the sculpture and its base.

(5) Gates of Hell – Dante’s journey through hell, purgatory, and, paradise. Bodies naked since figures eternally damned. High relief. Polished smooth bodies combined with rough surfaces.

Source: Musée Rodin’s audio commentary, visit of 2012-10-26

1896, Patinated plaster, H. 147 cm; W. 76 cm; D. 55 cms; Museum no. S.1125

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