what it is meant to be. As a subtractive sculptor, Gedion chisels and carves the stone away to reveal the story––and that story is typically about love, family and human connection. “Before I do anything, I look at the natural form of the stone and I respect that in every stone there is a living spirit that needs to be liberated,” he said. “The only way to do that is to start with the natural form––to respect the stone and get the vision of what I see in that stone.” Choosing stone as his medium was very intentional. Not only did Gedion want to use a material that was native to his country, Zimbabwe, he also saw it as an important tool for capturing and preserving stories of community, human relationships and the sacred- ness of life––themes central to Shona sculpture––for generations to come. “Stone outlives all of us,” he said. “I chose that medium because I wanted to mark where we are as human be- ings today. Instead of writing a book, by making sculpture, it will be passed on to future generations.” Creating a sense of place Beyond the stories of the human race, sculpture can also create a sense of place. They can create a memorable arrival experience at the entrance of a private residence, communicate the essence of a community in a public installation or become an iconic des- tination.
Among the sculptures that become destinations, many are considered monumental sculptures. Though the term monumental is commonly associated with larger-than- life sculptures, they aren’t al- ways on a large scale. Indeed, these can be monuments, but they can also include architectural ornamentation, public sculptures, fountains, and stained glass installa- tions. Monumental sculptures might convey pervasive so- cial and philosophical ideas of the time, memorialize a prominent person or im- portant event, complement surrounding architecture, or serve as a majestic and convening landmark. In whatever form, monumental
"Summer School" by Bryce Pettit, bronze
the top, I may not have been inspired to dream big,” he said. “To me, monu- mental work is full of emotion that is mostly experienced by engagement firsthand. These sculptures create a memory of emotion that ties you to that time and place.” The scale of the St. Louis Arch not only inspired Ryan to dream big, but he was also struck by the concept of strength in the triangular form. It was a lesson in structural load, balance and beauty. “I got to go into one of the legs and see how the interior was made,” he
said. “There’s a lot of history that struc- ture made with its triangular form, and most of the work I do now is in a triangular form on a curve.” Ryan uses a mix of casting by way of the lost-wax method, as well as fabrication of sheet metal, drawing on his fascination with origami in which the two planes of the metal are folded, stretched and manipulated in unthinkable ways. He often refers to his work as “atmospheric sculpture” because it captures the properties of the sun, water, clouds and seasonal landscapes that surround it. This is precisely why
taneously, reflections of the surrounding environment twist with each bend in the sculpture.” Still, achieving the level of smooth reflectiveness is a
sculptures have an extraordinary way of connecting with humans––tapping into our emotions or evoking a sense of connection to a place. Some are awe-inspiring, leaving an imprint on us that lasts a lifetime. In fact, it was a visit to a monumen- tal sculpture that forever changed the trajectory of artist Ryan Schmidt’s art career. It stirred something in his soul, sparking an emotion that he’d never forget. “If I had not visited the Gateway Arch in person, and rode 630 feet to
"Praise" by Ryan Schmidt, stainless steel
“To me, monumental work is full of emotion that is mostly experienced by engagement firsthand.” -ryan schmidt
labor of love. In fact, this part of the pro- cess can take three to four times longer than the building of the sculpture. “When you’re all done, the mirror finish, the reflective qualities and interaction of that as you walk around the piece, makes the time worth it,” he said. “The reflection changes as you move around it––and that is something that has stuck with me.” The interactive quality of sculp- ture, in which viewing it becomes a dynamic activity, is part of what draws humans to this art form. The piece can change as the viewer moves through a space or as time pass- es. It’s tactile and inhabits space in much the same way as humans––this enables us to identify with it and it makes a statement. “Sculpture has a certain weight that lends to the statement being made that cannot be replicated in two-di- mensional work,” Curt said. “Each is very capable of making impactful statements, but sculpture, even in a small scale, will demand the viewer’s attention.”
Ryan was drawn to stain- less steel as a medium–– because of its reflective qualities. He wants view- ers to be uplifted by the free-flowing curves of his pieces and to transcend to a place of healing and thoughtfulness by way of the outside world reflect - ed in his sculptures. “The reflective nature of stainless steel gives a different perspective as you walk around the piece,” he said. “Simul- Far left: Clay rider in prog- ress by Curt Mattson. Middle: "View from the Top" in bronze by Curt Mattson. Left: "Mother and Child" in spring stone by Gedion Nyanhongo. Right: Ryan Schmidt buffs stainless steel.
Issue 2 | Fall 2023
Issue 2 | Fall 2023
Page 9
Page 8
Made with FlippingBook Ebook Creator