Terry Reynoldson

Art Instruction, 1996 to 2021

Selected, Students' 3D-Artworks, Page 2: Sculpture, Design Principles, 3D-Art Fundamentals

New-Medium / Conceptual / Visual-Metaphor / Interactive-Sculpture Projects

Assignment (above), THEORY: We've examined the use of "found objects" in art and the crucial role that Marcel Duchamp played.

There's a tremendous amount of overlap between the Found Object Project and the Visual-Metaphor / Interactive-Sculpture Project. One way to differentiate them is like this: the Found Object Project is mostly ANALYTIC in the sense that it examines and critiques a value (implicit in the object or idea) to make clear the thinking behind it (beliefs that have a social, political, religious or commercial origin); on the other hand, the Visual-Metaphor / Interactive-Sculpture Project is mostly SYNTHETIC because it merges two or more ideas to produce a new, metaphor-like reality.

OBJECTIVE, You have three options for this project:

Create a conceptual artwork that encourages the viewer to interact with the piece, either physically or by using her imagination. The viewer will become a trusting co-creator, without whom you would not be able to complete this artwork (see the works above: one with chalk and a life-cast torso in a blackboard box; a bubble-gum machine and the bust covered with chewed gum).
Create a conceptual artwork that synthesizes two or more ideas to produce a new reality with a metaphorical sensibility (see the works above: the three-legged foot-stool; the weight scale with casts of two human feet).
Create a conceptual artwork that includes some aspect of performance, either with or without an object (see the images above of Natalie's performance, Blind Connection and Amanda's bust-block carving).

Follow this link to see the lesson: Conceptual / Visual-Metaphor / Interactive-Sculpture Project.

Scale-Figure Project, Inspired by George Segal

Assignment (above), THEORY: The human figure has been a favourite subject for sculptors for thousands of years. Classical sculptures used bronze-casting and reductive processes to create humanoid figures in bronze and in stone. Twentieth century sculptors, such as George Segal, used plaster-impregnated fabric over live models and static armatures to construct humanoid figures.

A fascinating part of Segal's work is the addition of re-purposed elements - walls, window, staircases, bathtubs, park benches, household furniture, traffic lights, a train's passenger compartment and even part of a bus - that support the activities (often mundane, domestic or pedestrian) depicted by his figures.

OBJECTIVE: In the spirit of George Segal, use aluminium foil (for armatures) and plaster-impregnated gauze to make a naturalistic grouping of figures that are engaged in some kind of dynamic activity such as sports or dance. The figures should be no smaller than five inches high and no larger than ten inches high. Pretend that you are submitting a maquette to a prestigious competition to design a public sculpture for a local park.

Follow this link to see the lesson: Scale-Figure Project.

Reductive Plaster Project

Assignment (above), THEORY: Reductive sculpture is one of the oldest forms of object-making known to us. Our early, nomadic ancestors created small, portable "Venus figures" by hitting a hard stone against a softer stone until a humanoid figure emerged. Although we don't know much about the purpose of these female-like forms, some scholars argue that the enlarged hips, breasts and belly suggest an intended use as a totem, perhaps to ensure the fertility of reproducing couples within a tribe.

OBJECTIVE: Use reductive processes to carve a smallish sculpture out of a block of plaster. In the spirit of our totem-making ancestors, your sculpture should represent an animal, a thing, an idea or a person. You must, however abstract the form to a sufficient degree (i.e., a lot) so as to resemble the modernist sculptures of Henry Moore, Barbara Hepworth, Jean Arp and Constantine Brancusi.

Follow this link to see the lesson: Reductive Plaster Project.