|
Home | Current Issue | Back Issues | Subscribe | Advertisers | Submissions | Contact |
||||
|
|
Sculpture: Art in Three Dimensions by Sarah Crampton
"Movement is extremely important to my sculptures," Van Ek continues. "You want your eye to flow around the piece and capture its feeling, its spirit. Even a standing still piece can have a tremendous amount of movement - a swish of the tail, a twist of an ear, or mane blowing in the wind. "The horse brings me peace and comfort, a sense of purpose," Van Ek adds. "I am in awe of their power and freedom. It is this essence that I try to portray to the viewer." Sculptor Ken Sullivan is a native of Houston, Texas, and began his artistic journey by drawing horses and cowboys. His school notebooks from kindergarten through college were filled with sketches of mounted figures, characters and studies of anatomy. He became an ardent student of classical western and equine art and taught himself to sculpt, developing a clean, powerful style. Ken combines his joy of exploring universal themes in western contexts with his passion for anatomy, accuracy, action and attention to detail. In 2004, his sculpture Pay Day! was awarded the Founders Award at the American Academy of Equine Art Fall Juried Show in Lexington, Kentucky. and Sullivan also won first place at the American Plains Artists Juried Exhibit in Midland Texas for his sculpture Lord of the High Plains. Sculptor and ceramist Elizabeth Ritter has been sculpting for twenty years and was a former public school art instructor. "In our world of art we find an introspection lacking in other parts of our daily lives. We are able to transcend the normal boundaries of what is and look beyond to what might be imagined," comments Ritter. Her horses are not necessarily anatomically proportioned but are sculpted in a contemporary style to catch their attitudes and gestures. Ritter remarks, "Those seeking purity in my noncommissioned works will have to look elsewhere. While they are representational, they are not true-to-scale." Brigitte Eberl lives and works in Munich, Germany. She often rides her two horses, an Arabian and a German warmblood, through the beautiful countryside of southern Germany. Eberl comments, "I think it is important if you want to sculpt a horse lifelike to know how it feels when it moves." She has always been interested in horses and started depicting them in sketches, but later on found that sculpting is much more fun. Her goal is to capture each horse in its typical pose, expression a look. At times she feels she nearly manages it.
|
|
||
|
Home | Current Issue | Back Issues | Subscribe | Advertisers | Submissions | Contact |
||||
|
|
||||