Development of Sculpture for Functionality: An Exploration With Terracotta in the Landscape
Chapter One
Objectives of the Study
The main objective of this study is to explore the use of terracotta for sculptures to be placed in exterior public spaces while the other objective is to create three-dimensional terracotta sculptures for functionality as an ambiance in the public exterior spaces for practical utility.
CHAPTER TWO
REVIEW OF RELEVANT LITERATURE AND WORKS
Introduction
This research focuses on exploration with terracotta sculptures for functionality in the open landscape. This chapter deals with review of some related literature and works especially as it concerns socio-cultural, personal or public physical functionality of the array of works in different media and in different environmental settings including those in terracotta, the main medium of this study.
Review of Relevant Literature
From the Stone Age to the present, the use of sculpture reveals a history of a multitude of functions. Whether enclosed within an architectural space, attached or free standing in the open air, Ogundipe (1988), states that “sculpture, from the pre-historic time, has been executed to enhance the environment”. According to Petersen (1997), such environment includes social, physical and metaphysical world of man’s state of being in line with his many expeditions.
Since man began to learn to maintain himself against a hostile environment, his artistic achievements especially as they concern sculpture were geared towards his responses for survival against threats of physical extinction and to reassurances of continued life even in eternity such as natural transformation from life to the world beyond. Alexander (1964) states that “man has always made use of form as an expression of his effort to find religious truth”. He further opines that from the beginning of time, sculpture has continued to differ in both functions and forms.
In ancient Egypt, despite its history of civilisation and as early as 4000 BC, life was full of the fear of the unknown so, strong religious traditions pertaining to existence, death and life hereafter were issues that fascinated and frightened man. Thus efforts aimed at overcoming such anxieties, according to Aldred (ibid), resulted in the creation of life-like sculptures of Pharaohs. Dunn (1996) posits that the building of several pyramids, the sphinx and a number of tombs were for the souls of the Kings to inhabit in their journey beyond.
For the ancient Greeks and the Romans, functions of sculptures became more diffused such that the focal point of worship included personal representation as well as architectural adoration. At the onset, it became pertinent on the part of the artists, within the context of their social functions to erect sacred temples where believers join to profess their faith and to follow the observations it requires. This may have resulted in the many magnificent sculpture – laden- architecture built in the service of religion. To support this claim, Rosaldin, et al (1998) concur that sculptors care to embellish the temples with multi-functional pieces which serve as adoration and as functional parts of buildings, with some in form of columns, whose shoulders support the buildings.
The Stonehenge which may have been built as early as 31,000 BC (Heyworth, 2006) keeps man marvelling at the proficiency with which it was erected. For instance, engineering feat aside, the ingenuity of the system of haulage of the component stones from over 30 km away from the site is beyond human imagination. Similarly the pre-historic cyclopean construction at Stonehenge in England was probably built as a setting for religious observation of sun worshippers (Gray, 2006).
CHAPTER THREE
METHODOLOGY
Introduction
This chapter provides information on the methods employed in accomplishing the main task of this study – the production of sculptures within the studio. The researcher adopted the empirical method of observation and studio experiment to accomplished the tasks of the study. The sequence was largely to first visualise real objects and then form a mental image as to the practicality of the adaptation of the forms for the functionality so desired.
Procedure
Having purposely selected terracotta as the main medium of exploration using stylisation and abstraction to render the forms, conceptual formulation of ideas for form often precede sketches from models diagrams, photographs and imagination. The later tasks include modelling, firing, finishing and installation of the outdoor project.
The source for the various forms of study from pictures, diagrams and models were employed in the actual modelling. These may be from illustration in books, magazines, newspapers and real objects for close studies, such images sought for were basically bio-morphic and natural forms. These include human figures, animals, birds, insects, sea creatures and plants.
CHAPTER FOUR
CATALOGUE OF STUDIO WORK
The number of works produced during the course of this study amount to 20,19 are small maquettes and one large outdoor piece, in tandem with the direction of the research, the smaller pieces are works that can be blown up for the functionality earlier spelt out in the body of this write up. The larger piece, a Pass through Sculpture, marks the epitome of the study. The techniques used were modelling with various methods of build up and firing in an improvised kiln.
CHAPTER FIVE
FINDINGS, SUMMARY, CONCLUSION AND RECOMMENDATIONS
Prospects
- Because the researcher had used two types of clay prepared by the wet and dry methods, it was discovered that, though the dry method saved time and energy, the wet processed clay was far better in use.
- The coil method was also found out to be more appropriate for larger pieces as it helps to eliminate having to build and scoop as well as helps in managing the quantity of clay required.
- Works whose forms are pot-like are observed to be better in terms of space created within for human traffic, more stable, stronger and conforms well with the biomorphic form employed in stylisation for the work.
- The double trouble of cracking due to exposure and humidity created by changing condition of harmattan when some of the maquettes were modelled was surmounted when cloths and nylon were utilised for covering up. The nylon coverings were slightly opened up and the cloths mopped the streaks of water as they collect under the cellophane.
Problems
- First, there was the problem of size and of work and how to fire and install the outdoor project, though this was solved with the approach of delimination into smaller parts to be assembled later. However, some people still object to the visible lines of seams.
- There is no doubt that the seams as left by the number of sizes may have also reduced the strength of the structure.
- Despite several precautions, a few of the pieces still witnessed one form of small cracks or crackles before and during firing. Some of the cracks were mended by joining with strong adhesive (Resin mixed with grog).
- Two compositions had to be abandoned half way, though they were feasible as sculptures but may not function as required.
- Three of the smaller pieces were completely lost as they got broken while being moved here and there before firing.
- Except for the refined clay acquired from the ceramic section, the bulk of clay used from the sculpture section was prepared by the researcher which was an additional burden.
- The outdoor piece had to be reinforce inside with rods and concrete for more stability.
Summary
This research has been able to explore with suitable concepts of terracotta sculptures whose forms, in the exterior public spaces, are to be of such functionality allowing for human embrace as rest points, pass through, sheds, or for other brief or momentary dispensations. Having been able to bridge a yawning gap for such pieces demanding a more practical utility by people in the open-air landscape of public spaces. The reviewed works of related pieces from masters which had helped in the focus of the exploration were all dully acknowledged.
Conclusion
From the encountered of this study, the various submission on the findings, summary and recommendations were based on the experience in line with modern trends whose philosophy is governed by divergent exploratory direction, such that at this part of the world too, sculptors could be spurred to making works for a variety of reasons including physical functionality as revealed by the outcome that sculptures in whatever material could inhabit any space including public exterior spaces and could as well be put to several countless uses as proffered by the researcher.
Recommendations
- In view of the public utility value of the works of this study a co-operative arrangement between sculptors and other professionals like Town Planners and the likes are expected to better the shape, form, the placement and utility of such artistic creations.
- The dearth of such works within the immediate environment is largely due to lack of commission to artists. This can be overcome if a percentage of developmental budget is set aside for such public projects as those from this study.
- A break from traditional norms in the perceived common use of materials will afford the opportunity of the untapped qualities of such materials like terracotta which had hitherto been considered unfit for certain purposes.
- Art Councils, Guilds of Artists and other related associations should be co- opted into various environmental planning tasks.
- Adaptation of forms for other functions or functionalities should be encouraged.
- Manufacturers of other objects of functionality should employ the service of sculptors to improve on the shape of their products.
- Sculptors should be encouraged to place such sculpture of functionality in the out of town or city environment too.
- There is the need for an enabling law to legalise the placement of such environmental sculptures in public spaces.
REFERENCES
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- Arnason, H. (1971). Calder, Thames & Hudson, London U. K. Pp. 68 & 205. Baker, C. E. (1989). Sculpture, Art in America Journal, Vol. 77, No. 4, April,
- Brand Art Publication Inc. New York, USA, pp. 126. (1992). Sculpture, Art in America Journal, Vol. 80, No. 4, April, Brand Art Publication Inc. New York, USA, pp. 105.
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- Cass Sculpture Foundation (2006). 21st Century British Sculpture, Anthony Caro, “The Tower of Discovery”, (Online), Available: http://www.sculpture.org. uk/ work/0000001000062 retrieved on 26/01/06.
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