Here´s a homage to the american sculptor Alexander Calder (1898-1976).
I tried to make a 3D version of the sculpture S-Shaped Vine:
A text on Calder and then the screenshots and renders.
“Why must art be static? You look at an abstraction, sculptured or painted, an entirely exciting arrangement of planes, spheres, nuclei, entirely without meaning. It would be perfect but it is always still. The next step in sculpture is motion.”
“I used to begin with fairly complete drawings, but now I start by cutting out a lot of shapes… Some I keep because they’re pleasing or dynamic. Some are bits I just happen to find. Then I arrange them, like papier collé, on a table, and “paint” them – that is, arrange them, with wires between the pieces if it’s to be a mobile, for the overall pattern. Finally I cut some more of them with my shears, calculating for balance this time.”
- Alexander Calder on building a mobile, from Calder’s Universe, 1976.
In addition to motorized, mechanized sculpture, Calder began in the 1930s to experiment with work that produced spontaneous, random motion. Cône d’ébène (1933) – an early suspended mobile – is one such construction. Depending on the atmosphere surrounding the sculpture, its three suspended elements, hung by wire from metal bars, either lie at rest or rotate through the air.
Calder took this concept one step further by building large-scale mobiles for the outdoors, allowing his works to operate at the hands of weather’s fate. In August 1933, he relocated to an eighteenth-century farm in Roxbury, Connecticut, a move which seems to have had a direct correlation with the large-scale works he produced there. In 1934, Calder built several large mobiles “for the open air,” which were intended to “react to the wind.” Steel Fish (1934), for example, involves an intricate system of weights and balances, and depends on the strength of the wind to arrange or rearrange its composition. This particular work is an early example of the types of outdoor sculptures Calder would later build during the final years of his career.
By the late 1930s, Calder had established himself and his work as a major force in twentieth-century art. As well as being the inventor of wire sculpture and the mobile, he was one of the first modern artists to create monumental work for public spaces. In a career that stretched to his death in 1976, Calder became one of the best-loved and widely appreciated American artists of all time.
Full image: http://www.blender3d.blogger.com.br/Mobile_03_Wire.png
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