Introduction
Discussing the role of the subtractive and additive processes in the creation of sculpture, it is important to describe and compare those processes. Therefore, it is important to analyze the traditional subtractive techniques containing “pointing, blocking, surfacing and finishing processes” (Sayre, 2003). It is also important to analyze the additive process’ basic techniques containing “fabrication and assemblage in a variety of materials including wood, found objects and mixed media” (Sayre, 2003).
Discussion
The exploration of the above provided problem would enable one to look into the exciting art world’s traditional and new sculpture materials, and thus, processes. The acknowledgement of the additive and subtractive processes of sculpture working is necessary condition in the creation of the sculpture; therefore it would be relevant to describe the technical skills, the physical and expressive possibilities of the usage of the diverse materials and tools involved in the given processes.
If refer to the famous art scholar’s Alberti’s definition (the first made in the art history) of creating sculptures’ process, wrote by him in the book “De Statua”, and provided in the others’ credible, but modern art scholars’ (Elliot W. Eisner and Michael D. Day) book, then it can generally be categorized as the mixture of the additive and subtractive processes, “If an artist adds material to a sculpture, it is considered additive, like adding lumps of clay to form a portrait bust. If an artist takes material away, it is considered subtractive, like chiseling stone away to carve a statue” (Alberti, cited from Eisner, Day, 2004). And here, one may point out the significant feature of the subtractive process: it is entirely irreversible; therefore, while creating a sculpture, an artist often makes a prior small model or prototype of his or her final work. This is usually done with the view to define the precisely exact proportions priory to the creation process.
Following this, one may firmly assert that the subtractive process starts with the selection of a block of a solid material with the further intention of the artist to carve it. Although it might seem that the carving is an easy process to perform, it must be noted that it is an aggressive and quite complex process, which requires the sculptor’s good eye and skills.
Using this block, the sculptor must think up “a topographical image from all 4 sides, that is a very time consuming physical process, because if too much is taken off, it usually cannot be added, especially when working with stone” (Eisner, Day, 2004). Therefore, analyzing the above provided view point, one my suggest that while creating the sculpture, especially working with the stone, the sculptor should consider the negative space and structure as well as the balance in the planning stages of the work.
As for the additive process, then it necessarily contains of the modeling, the casting or the constructing. Each of those techniques is based on the addition of the material, which is likely to be assembled or just built up to reach the final form of the sculpture art work.
In both: the subtractive and additive processes, the selection of the material plays a great role. For example such materials as stone and wood strongly influence the carving mechanics’ process, and “determines the type of creation that will emerge” (Sayre, 2003). Nevertheless, the artist is able to manipulate the chosen material by the usage of the various tools.
Works Cited
Eisner, Elliot W., and Michael D. Day, eds. Handbook of Research and Policy in Art Education. Mahwah, NJ: Lawrence Erlbaum Associates, 2004.
Sayre, Henry M. A World of Art. Revised 4th ed. New York, NY: Prentice – Hall, 2003.