« ORIGAMI: TENSION AND COMPRESSION | Main | FROM 2-D TO 3-D. (A.RODCHENKO-THE ICONOGRAPHY OF SPACE) »
October 10, 2005
INNER IMPULSE (“Building a Character”, C. Stanislavski.)
Trying to catch the spirit of a single movement happens to be the result of the observation and disintegration of a subject in motion.
Plasticity of movement or the spirit of one motion; in sculpture, when modeling human figure, in photography making of one gesture a single still frame (when taking pictures of nature, portraits or human figure) or painting (as in Bacon’s studies), we must consider the idea of trying to catch the spirit of the subject; this is to enclose hundreds of movements and freezing them finally in one product.
The subject (in my own work, the human figure) gets its own external plasticity, as stated in Stanislavski's text, in its inner sense of the movement of energy. This energy must be consider the one that makes possible the motion and also makes real (to be seen) the external of something that is really an internal energy (force).
To synthesize plasticity, to show in one single piece lots of frames, to make external this inner energy, is that making art comes to recover or really make sense.
The power of synthesis is the achievement that the artist’s hands (got previously by the eyes) have to center their capacity, even when is not necessarily the human figure, or the motion the final goal.
Since also an abstraction of an idea or a main concept can be the “motion”, or the spirit of something/////in the photograph "HIP", Carolina Pino 1999, melted aluminum.
Trying to catch the plasticity of motion in one frame, (is it possible that this could be the same as synthesis?) or building the physical form of a character, when the inner becomes external, not only by observing motion, but experiencing it.
Posted by carolina pino at October 10, 2005 03:38 AM