Composition in Sculpture

At the end of the course, students should be able to: 1. Hone the theory of practice and the practice of theory in the studio discipline; 2. Expansion of the creative possibilities’ contra traditional modes of visual expressions; 3. Come to terms with the ways of the masters of the discipline; 4. Representation without imitation; 5. Engaging the negative and positive space in composition; 6. Understand various types of relief sculpture and spatial needs and values; 7. Engage studio theorising; 8. Hone the use of the digital tool for sculpture; 9. The relevance of mounting finished works; 10. The status of the pedestal; 11. Sculpture in relation to space; 12. Sculpture in relation to craft; and 13. Discuss masters in the history of sculpture and their conventions and contributions.

The course is a hands-on approach to thinking with materials in the organization of form in relief and the round, relying on the objective and non-objective world as schemata. The course incorporates visual analysis of sculptures from different epochs and traditions with the sole aim of providing students with a history of styles on which they will develop a personal approach to formal organization and rendition. Assignments are connected to specific sculptural materials such as metals and alloys, fabrics, and plastics in their variety of finishing/transfer options. The course also incorporates exercises in new media and video installation art and performance. Assignments are based on digitally realized art through applications of knowledge gained from FAA 231 and 232. Term papers are expected to demonstrate how theory and practice complement one another in the studio with written work stating accomplishments that the student has attained using the conventional and digital platforms.