Surface images on geometric forms

As an artist I have chosen Surface Images on Geometric Forms. My primary goal in adding surface images to geometric forms was essentially to capture and hold the viewer's interest on an otherwise simple piece of sculpture. The nude was chosen as the subject matter in an effort to capture attention. The method of combining a two-dimensional figure with a three-dimensional object was used in order to create an unusual illusion which would maintain the viewer's interest on the piece. In an effort to establish the most effective way to represent the illusion of a three-dimensional surface design, the building methods progressed through three stages. They varied from ceramic tile, to hand-built slab forms, and ended with ceramic slip casting. The techniques for adding the surface design to the very basic sculptural shapes varied in an attempt to find the most expressive way to illustrate the designs in a manner which permitted the viewer to visualize the diversity of the different materials used in the surface design consisted of a relationship between various combinations of underglazes, overglazes, metallic lusters, decals, and photographic emulsions. Through the use of decal images it was possible to create unusual patterns that when viewed from afar produced an overall visual texture-shadows and outlines. Particular attention was given here to the use the decals to subdue the negative space. When studying the decal patterns closely, they reveal animals, people, cartoon characters and Greek letters, all containing minute details. After satisfactorily completing several cube forms, evaluation revealed that some modification of the sculptural form was required, the cube was too confining. Too many corners and edges prohibited the surface design from achieving the full three dimensional perspective that was being sought. In an effort to achieve a greater sense of flowing line, the slab was modified from a cube to a column. The building and surface design methods remained the same with the column as with the cubes. Since the column had no corners, the surface figures fit more naturally around it than on the previous geometric forms. Furthering the concept of roundness, the column led to the sphere. The sphere essentially proved most suitable in that it had no edges. The surface design could then fit continuously and uninterrupted on this form. After a long period of experimentation with different images and materials, concluded that the importance of the image into the form was most essential. Even though the major focus was on the surface design itself in the beginning, the importance of the sculptural form and the interdependence of the two became increasingly clear, as did the importance of the method chosen for display and presentation. Concomitantly, therefore, increased experimentation with the techniques of exhibition concluded that studying the sculptures from approximately eye level provided the best view for full perimeter observation. In order to finalize the feeling of being completely three- dimensional, the sculpture was placed on a highly reflective acrylic surface to give the impression of floating rather than being attached to a surface plane