Contemporary art sculpture is very diverse in its forms, materials, and concepts, which are a reflection of many-sided contemporary artistic expression. Through the exploration of two sculptures, we will discover two different ways of making sculptures while still connecting these works with the common topic of aspiration and connection. While “Skyward” by Clayton Swartz and “The Dream to Connect” by Mary Voytek differ in their techniques and materials, the two capture the human quest to grasp for something greater and to make strong bonds. Through a comparative approach that highlights their form, shape, and proportion and their thematic context, we aim to fully understand the artistic intentions and expressive qualities of these amazing sculptures.
Descriptions
Clayton Swartz’s “Skyward” is an imposing abstract sculpture that is about 15 feet high. It is made of brushed aluminum and glossy white enamel paint. The sculpture is composed of three main aluminum forms resembling the swooping plants. The two tall, curved shapes are leaning together diagonally on the left side and almost touching. On the right side is a third indented form, also diagonally angled. These ground forms have beautifully rounded outlines that gradually narrow to smooth points at the top. Their curvilinear lines lead the eye through the sculpture. From the center comes out the fourth curve made of white enamel. This graceful swoop suspended over the others curves gracefully through the air, ending in a dainty point. The suspended white curve creates a visual contrast to the matte metal ground forms. The white color and the fact that it is placed high overhead gives the feeling of lightness and brightness. Overall, the flowing organic shapes recall the growing plant shapes that are reaching out to the sun. This sculpture personifies the feeling of natural power and freedom.
“The Dream to Connect” by Mary Voytek soars with a completely different imagery. This roughly 13-foot-high abstract sculpture has a very industrial character. It is a metal framework made of thin rods of bronze, aluminum, titanium, stainless steel, and copper. The rods range in length and are grouped as the base is approached. As they go up, they are piles that spread out from each other, getting wider to make an irregular shape against the sky. Scattered among the sculpture are some small spheres and geometric figures that become visual contrast. The spectrum of metals leads to a many-splendored mix of textures and colors, from dark oily bronzes to gleaming silver tones. Some rods are straight, while others torque and rotate. The final work is mainly determined by the sharp upward motions of the polyhedron-like angled metal rods and shapes, which make it seem as if the work is exploding with energy and complexity.
Formal Analysis /Comparison (using line and repetition)
Both sculptures apply line and repetition as the central design elements; however, they have different outcomes.
“Skyward” has big, majestic curves that create the body as the main shape. These curving lines guide the eyes in a winding motion up through the sculpture and give an impression of natural flow and growth. This sweeping white suspension arc is the most effective in focusing the sight in the upward direction due to its long and graceful curve. The curved forms are fluid, with the dynamism captured, making an upward motion (Christidou, Dimitra, and Palmyre, 100).
On the other hand, “The Dream to Connect” uses upright poles made of long metallic rods that form right angles. The rods stick directly to the ground and reach the sky in a more static and staged way. The repetition of the same picks launching upwards builds up a feeling of vertical lines joined together, working in harmony. Through the repetition of the pattern, this kind of line will be more mechanical than fluid.
In addition to this, the spheres and shapes between the rods cause repetition. These repeating circular and polygonal forms add dynamic patterns in that make the sculpture alive. The core curves of “Skyward” seem more internally energized, whereas the repeating angles of “The Dream to Connect” seem externally energized. Both objects have a vertical reach at the core, but the curved lines of “Skyward” seem more graceful and natural, while the linear repetitions of “The Dream to Connect” feel industrial and stepped (Christidou, Dimitra, and Palmyre, 109).
Interpretation Context
Large-scale metal sculptures, when interacting with the surrounding atmosphere, make the viewer feel creatively stimulated.
“Skyward” is placed right outside of the Denver Art Museum, and it is integrated nicely into the landscaping. The rising biomorphic forms are similar to the leaves and plants that surround it. Aluminum brushwork related to the texture of bark and foliage. With its upward-reaching white suspended arc, it seems like the beam is stretching toward the light and open sky. “Skyward” is the title that very literally catches the idea of reaching the skies. The bends are like actual plant-life energy, energetically trying to stretch their limits toward the light. This signifies an embodiment of groundedness and earthiness, which cements the basic human aspiration of dreams and striving (Christidou, Dimitra, and Palmyre, 111). Harmony can be seen in association with sculpture, landscaping, and sky.
On the contrary, “The Dream to Connect” reacts by being more imposing compared to its urban setting outside the Phoenix Convention Center. Heavy metal pipes vie with the crowded skyline of skyscrapers behind it. Instead of harmonizing, it brings in the chaotic energy in the mild-mannered urban environment. The term “aspirational” appears to be a reference to the human bonds within the urban environment. The chaos represents human creativity, dreams, and innovation that endeavor to leave a mark on their urban landscapes. The angular steel imitates the city, and the variable metals and shapes break up into our visions. The overall mood reflects the madness and the confusion of human forces applied to the urban environment.
Although both of the sculptures lift skyward, “Skyward” does it naturally and organically and finds itself in harmony with trees and the sky. “The Dream to Connect” is expressed with a greater degree of disruption, bringing human passion and creativity into the set framework of the city. At the same time, both address the same human aspirations, one in a natural environment and another in an urban one. Through their materials, forms, and settings, they elicit these different receptions to universal human aspirations and efforts.
In conclusion, Clayton Swartz’s “Skyward” and Mary Voytek’s “The Dream to Connect” employ different artistic techniques. Still, the two sculptures share the same optimistic themes by means of their shape, material, and location. “Skyward” translates a sense of natural, organic striving that occurs in its sweeping curves moving toward sunlight. Simultaneously with the harmony of the landscaping, the poem expresses the dreams of all humanity. “The Dream to Connect,” on the other side, depicts the messy pushing of human imagination through its blending of industrial materials of the city environment. Despite their aesthetic differences, both sculptures use symbolic forms and interactions with their surroundings to represent the soaring of human ambitions and desires. While beautiful as works of art, they also provoke deeper introspection on the shared aspirations that define humanity. Both sculptors skillfully give physical shape to elusive human ideals in order to inspire viewers to contemplate profound themes.
Reference
Christidou, Dimitra, and Palmyre Pierroux. “Art, touch and meaning making: An analysis of multisensory interpretation in the museum.” Museum Management and Curatorship 34.1 (2019): 96-115.
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