In this note I was contemplating various attributes of an intuitive approach to the sculpting process.
On contemplation and consideration of the processes of sculpting, with the process being, in this instance being “a take away process” as apposed to a “build up process.” Practicality, too, is taken into consideration, without serving as an immediate default. As viewed from a practical perspective, the process begins with a search for an appropriate piece of wood to carve: a piece with character, unique in line, unique in form. This piece is solid in structure, not prone to disintegrate, basically a solid foundation.
Viewed alternately, from an intuitive perspective the process begins with this: a piece that feels special, a piece that touches the heart, the soul, as somehow feeling appropriate. When choosing from thousands upon thousands of driftwood pieces, only a few captivate, draw focused attention, resonate. Once chosen, the piece is not always started immediately.
Again from an intuitive perspective, one questions, “Does it still feel appropriate?” OK, begin. The eye regards the piece, the mind relaxes. Remove those splinters. Take off that bark. Remove the deteriorated wood. The form is constantly re-scanned. What direction might the form be taking? Nothing obvious. Relax. Smooth the rough areas. That does feel like an appropriate thing to do. That has visual appeal. Initially every knothole may appear to be an eye, yet there is, as well, a pang of discomfort. Contriving is an easy path to take at this point in the process. Do not rush. Move away from those knot holes for a while. There must be something else to do. Ah yes, those curves in the wood are not comfortable to the eye. Remove material. Make those curves more comfortable. Take it easy here, just a little at a time. What is this piece going to be? Relax about the question. Contemplating, wondering is OK. Maybe jot down an idea then allow that idea to simmer. Regard the piece again. What is the most obvious thing to do? Do that.
The process continues till the form completes itself…A frog may have emerged, but it only has one front leg. Relax, this is just the way it is…unless it isn’t, unless there is a strong urge to make another leg for this frog. A wooden leg might be the first thought. Stop, ask yourself, “Is this “contriving” going on? Close your eyes. What comes to mind? Make a note or maybe do nothing. Relax, visualize later. At some point, review the note…maybe various notes. Which parts feel good, which parts have somehow less appeal? What is this piece about? Relax, all will be revealed in due time. Now, what is appealing? What is the most obvious thing to do next? Go there. Maintain and practice vigilance throughout the process.
Thinking brain attempts to get involved. Pleasing the public, what would people like to see? What worked on the last piece? There are lots of identifiable images. What would be convenient to do? What would be a convenient size? What colors are popular in the marketplace today? These are all valid concerns, particularly, yet not always, if one is designing product.
Take time, remain calm, ponder. What might I do with this piece of material? The responses might be quite different. What does this piece most want to be? I have a choice. I am doing the choosing. Each time I have resisted initial interpretation and listened for that which the material most wished to be, to express. Very often, most often, the resulting piece, to my mind, was much more beautiful, more breathtaking than that which my intellect would have constructed.
I prefer to surrender to this sensitive approach. It may be that this approach expands one’s use of more of the senses. In tapping into more of the senses, aspects of reason might be recognized as having evolved a great deal from culturally developed contrivances and conveniences. The contrivances tend to be significantly different than the expressions available when utilizing more of the senses.