On Methodology

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Some started with much

and gradually trimmed and shaped with a box-tool and finger-scissors

Some built minimally, first coating the wire thinly with clay

then successively layering

Some made the block platform,

upon which sat the stool,

upon which sat the body

Some used a brick or two instead of making the block and stool

Some built stool legs and sculpted from there on up

Some sculpted the body from feet dangling in air

Some sculpted the body from feet touching a surface

 

Some formed the cone with a sheet of clay fashioned from lumps flattened in their hands

then wrapped around the body like a cape,

leaving space in between: ‘felt space’

felt

by the sculptor

or the body

or both

Some composed the body and cone as if they were one,

the cone full of something more

than only body or clay

 

Is the whole more than the sum of the parts

Is the sum of parts even more than that whole

Does this summing actually produce a multiple

Are some parts more than the entire whole

Are the parts and whole factors of something yet more?

 

Some made the cone-hat and plonked it on the head

Some shaped the cone-hat and the head simultaneously

Some scraped lines between the head and shoulders: hair

Some smacked clay into a plaque, and shaped it into hair over a cone-less scull

Some sculpted faces and nothing but detailed faces…

 

What

was there?

 

Through the cones we can know some

through the stool we can know some

through the body we can know some

through the block we can know some

                                                                                     

They were all there:

wavelengths of different frequencies

 posited and abstracted for sculpting here

 

The sculptors and the sculpted:

parts of a texture-enmeshing flux

as knowing as lost as unknowing as unknown

 as one another 

But always, still

sculpting

something.

 

from breathing for breadth

(TSAR: 2005, pp. 45-46)

*photo by Salimah Valiani, Manila, October 2008

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