Rino Www.rino-sculptures.comDutch - lives in Bergen (NH)
At this moment I use two different methods to make a sculpture. The most common way that I use, is that of making a small model, for instance in wax or clay, and than later make it as big as I feel like. It is good to make a small model; you can take it in your hand and look at it from all sides. When I think the model is good, I fasten it on some wood or what ever I think is right, and make some reference lines for the big sculpture.
The small model is only an idea, to see the balance in the sculpture; the real sculpture is in my head.
The other method I use is more based on intuition.
I have an idea of the expression it should have in general, and then I start with the armature in the size I want the sculpture to be. It is really exiting to work in this way, most of the time it will be an abstract sculpture, but not always. To make a sculpture in this way is like to start telling a story, but you don’t know how it will end. When I make a sculpture like this, I need to have some things to guide me. It has to have a harmony and balance in the forms and sculpture, but at the same time there has to be some tension between the forms, and even friction. But if there is friction at one side I have to find a solution at the other side, to keep it in balance, just like in real live.
It is really special to be able to make art, especially sculpture.
You can make something that has never been there before.
When I make a realistic sculpture, for instance a bird, or a woman, then I want to express something that I feel as essential for it. For instance in case of a bird that is the swiftness of movements, and the power to go up in the air. But for me it is essential that the sculpture ha s some kind of dynamic force inside, for the sculpture should be alive. When I make a sculpture of a bird, and it looks exactly like a bird in nature, even with a lot of dynamic, it would still miss something; it would miss the other movements it could have done. Therefore I have to use my forms differently to make up for the missing part.
But in sculpture there is something that is very important, and that is the form you don’t make, the space one leaves open, or holes if you like. The space between forms in a sculpture gets its form through the other forms, and therefore can change the sculpture dramatically.
Now I make only bronze sculptures, there are almost no limits to what you can do in wax, (important medium to make a bronze), This as opposite to ceramic sculpture. Because of the nature of the material, I was almost forced to make heavy forms, now I make the opposite.
I try to make my sculptures in such a way that you can understand what my sculptures have to say to you, please have a look at them.