Forms in Sculpture: Research

Constantin Brancusi

What is real is not the external form, but the essence of things

Constantin Brancusi

After my experience with the Gained in Translation task, I was interested to learn more about how sculptors have sought to capture the essence of an object in simplified or generalised forms. This seems to be of particular importance in considering the work of the sculptor Constantin Brancusi.

He paid great attention to the material with which he worked, coming from a crafts background. This means the artwork gives a sense of being formed quite naturally, not working against the fabric with which it has been created. The fluidity of metal, the roughness of stone, and the smooth flint of granite.

What is intriguing though in particular is his depiction of the subject. He has not sought for it to resemble the subject in a physical sense, but has imbued it with an abstract sort of resemblance. The Danaide conveys a serenity and composure of the subject; the bird in space, graceful dynamism; the fish streamlined movement that in a flash would disappear from view. In a sense here he has depicted the qualia of the subject (as philosophers might term it) – that is, he has relayed the experience of witnessing the subject within his artwork: the ‘what it means to see a fish’. This is beyond simple emotional expression and onto something quite more conceptual depth.

This too can be seen in the Endless column. He is giving us the illusion of a pattern, a motif, that could be repeated ad infinitum and conveying to us what it might be like to experience that.

That he would return to several of these motifs again and again, producing unique versions sometimes with only slight nuance, is perhaps less interesting to me. But the notion of repetition on a theme and meditation is perhaps something to consider.

I think it is also noteworthy that he mostly shied away from geometric design and instead focused on smooth rounded shapes and organic-like forms.