Life & Death
Through elaborate carving, casting, painting, and other technical processes, artists can ingeniously turn dead stone, metal, or plaster into vivid human-looking sculptures. George Segal’s Blue Women In a Black Chair, which was made in 1981, is a typical painted sculpture that reflects the core of human emotions. The Untitled large man accomplished by Tom Claassen in 1999, likewise, is another excellent reflective sculpture. Although these two are both outstanding pieces mirroring experiences in real life, they differ in materials, size, color, and body gesture in order to present different stage of human being, conveying different meanings. With painted blue on metal and plasters, George Segal’s sculpture highly detailed depicts …show more content…
The usage of paint on plaster and metal sculpture makes the surface look rough and scratchy. After the scruffy blanket is painted, the tiny checked pattern of the blanket resembles elderly’s senescent skin, lacking resilience and smoothness. There are stains of paint drooping on the as a result of gravity. This signifies how human beings are too weak to be defy the force of nature or to resist the course of aging and death. In regards to material, Claasseen selects black polyurethane for casting and processing for his sculpture. The nature of black polyurethane results in the detached composition of every single body parts, such as arms, legs, and chest are all separated apart. The unique piece-by-piece composition demonstrates another characteristic of a baby—fragileness. While Segal meticulously presents every detail, Claassen ingeniously apply ambiguity on both facial and body expression. For instance, many features such as eyes, nose are all unmolded. The baby’s lack of toes stands in contrast with the blue woman’s veiny feet, which represents baby’s immaturity and his potential to grow. Polyurethane has another feather that it is quite smooth and shimmering. Claassen adopts this feature to embody the resilient and glossy skin that a newborn …show more content…
They are relatively differs in use of colors, materials, and in the way they portrays sculptures’ posture, body characteristics, and emotion. Segal uses blue and black, metal and plaster to specifically depict every detail. In comparison, Claassen applies pure black polyurethane so as to show the ambiguity, giving space for imagination. Moreover, both art pieces are exhibitions of real life. In fact, they symbolize two completely different stages of life. The exaggeratedly oversized baby is the beginning of life, delivering message that life is full of longing, and future is undetermined and hopeful. Instead, The melancholic woman tells another side of life that is overwhelmed with loneliness and illness—end of life. These two pieces complementarily compose a true-life story from birth to death, seeking for emotional resonances and contemplations with the meaning of
Through elaborate carving, casting, painting, and other technical processes, artists can ingeniously turn dead stone, metal, or plaster into vivid human-looking sculptures. George Segal’s Blue Women In a Black Chair, which was made in 1981, is a typical painted sculpture that reflects the core of human emotions. The Untitled large man accomplished by Tom Claassen in 1999, likewise, is another excellent reflective sculpture. Although these two are both outstanding pieces mirroring experiences in real life, they differ in materials, size, color, and body gesture in order to present different stage of human being, conveying different meanings. With painted blue on metal and plasters, George Segal’s sculpture highly detailed depicts …show more content…
The usage of paint on plaster and metal sculpture makes the surface look rough and scratchy. After the scruffy blanket is painted, the tiny checked pattern of the blanket resembles elderly’s senescent skin, lacking resilience and smoothness. There are stains of paint drooping on the as a result of gravity. This signifies how human beings are too weak to be defy the force of nature or to resist the course of aging and death. In regards to material, Claasseen selects black polyurethane for casting and processing for his sculpture. The nature of black polyurethane results in the detached composition of every single body parts, such as arms, legs, and chest are all separated apart. The unique piece-by-piece composition demonstrates another characteristic of a baby—fragileness. While Segal meticulously presents every detail, Claassen ingeniously apply ambiguity on both facial and body expression. For instance, many features such as eyes, nose are all unmolded. The baby’s lack of toes stands in contrast with the blue woman’s veiny feet, which represents baby’s immaturity and his potential to grow. Polyurethane has another feather that it is quite smooth and shimmering. Claassen adopts this feature to embody the resilient and glossy skin that a newborn …show more content…
They are relatively differs in use of colors, materials, and in the way they portrays sculptures’ posture, body characteristics, and emotion. Segal uses blue and black, metal and plaster to specifically depict every detail. In comparison, Claassen applies pure black polyurethane so as to show the ambiguity, giving space for imagination. Moreover, both art pieces are exhibitions of real life. In fact, they symbolize two completely different stages of life. The exaggeratedly oversized baby is the beginning of life, delivering message that life is full of longing, and future is undetermined and hopeful. Instead, The melancholic woman tells another side of life that is overwhelmed with loneliness and illness—end of life. These two pieces complementarily compose a true-life story from birth to death, seeking for emotional resonances and contemplations with the meaning of