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E S $ E N T I A L W O O D C A R V I N G T E C II X I Q V E 5

Making abstract art because you cannot make rcprcsentational pieces is feasible. By copying from naturę and from traditional styles, however, rhe carver builds an understanding ot" forms and how things fit togerher. Abstract art attempted afterwards is morę likciy to succeed. Some art schools now discourage students from copying old cxamp!es and even from worldng directly from naturę. It is felt that it somehow prevents the artist from directly and honesrly expressing inner thoughts and feelings: that ineradicable habits of techniquc and thought can be developed which are derived from other pcoplc. My own experience as both teacher and artist is that, after mastering technique and developing vision, a good artist will make his own style and, if he wishes to communicate, he will use a ‘language' to which viewcrs can respond. Peoplc who arc merely talented (as opposed to artists) may, it is true, becomc set in ways which limit honest and free exprcssion. The free-for-all approach, however, may thwart their natural talent and produce what may, while very therapeutic for the crcator, be unintelligible to the onlooker. While it is vcry easy to make an abstract piece, it is very diflflcult to make a good one.

In abstract work most pcoplc make the things they would like to see. Some follow an instinct and let the shapes emerge, presumably led by their subconscious (Fig 14.1). In such work artists are, of coursc, making their own rules and, provided they arc happy with the result, we need say no morę. If artists wish others to respond positively, howevcr, (it is not nccessary for pcople to like a piece of art for it to be good) they should consider the principlcs of thrcc-dimcnsional design.

Some sculptors bclieve that a piece should have one main viewpoint. This is obviously the case with pieces attached to walls or in niches. Others, like Rodin, bclieve that work should rcad well all around. If you can see very distinct front, back and sides this

Fig 14.1 A students first cawing (jelutong). He followed bis instinct and worked on it over several years, but still couid not J7iake all the forms puli togetber.

musi be intcntional. Such a piece, ahhough appearing static, can be very impressive, like an obelisk. If a sculpture has incongruous clcmcnts, for instancc if the front is covcrcd with fine detail and the back consists of large blunt shapes, the contrast has to be deliberate and relevant. If one side consists of angular projcctions and the reverse of rounded forms, the transition has to appear intended. Fairy srories are patendy untrue, yer if they did not contain a deeper truth, or were inconsistent with their own codę, no one would bother with them. If you make your own rules they should be consistent and have their own logie.

Apart from the wholeness of the sculpture, other aspects to consider are balance, linę and rhythm. Sculptural depth is esscntial. This mcans that the shapes must be strong and neither lost in minutę detail nor ill defined.

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