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The State of Art
Sculpture & 3D
#2

Sally Hewett Billie Bond Sculpture & 3D is a branch of the visual arts that operates in three dimensions; it
Ilua Hauck da Silva Seamus Moran is one of the plastic arts. Durable sculptural processes originally used carving (the
Hollie Mackenzie Paul McCloskey removal of material) and modelling (the addition of material), in stone, metal,
Victoria Collins Karla Hamlet ceramics, wood and other materials, but since modernism, shifts in the sculptural
Dorcas Casey Louise Seijen Ten Hoorn process have led to an almost complete freedom of materials and process.
Marianne Broch Mercedes Ferrari
Tony Murray Heidi Kreitchet The earliest known human artefacts recognisable as what we would call sculpture
Satomi Sugimoto Ann Goddard date from the period known as the Upper Paleolithic, which is roughly from 40,000
Simon Raab Eric Troffkin to 10,000 years ago. These objects are small female fi gures with bulbous breasts
and buttocks carved from stone or ivory, and are assumed to be fertility fi gures.
Tom Blatt Siobhan Connor
Lourenço de Castro Lauren Kelly The most famous of them is known as the Venus of Willendorf (the place in Austria
Aris Katsilakis Mette Fruergaard-Jensen where it was found in 1908).
Rachel Olin Mark Connolly & Diego Zamora
Shaun Hall Emma Caton Sculpture fl ourished in ancient Egypt from about 5,000 years ago and in ancient
Greece from some 2,000 years later. In Greece it reached what is considered to
Angela Speight Robert Furness
be a peak of perfection in the period from about 500–400 BC. At that time, as
well as making carved sculpture, the Greeks brought the technique of casting
sculpture in bronze to a high degree of sophistication. Following the fall of the
Roman Empire the technique of bronze casting was almost lost but, together with
The State of Art, art book series #2 is published by Bare Hill Publishing. carved sculpture, underwent a major revival during the Renaissance.
© 2015 Bare Hill Publishing, All rights reserved.
No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or Today’s sculptors have access to an enormous array of materials, forms, concepts
by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission
of the publishers. and techniques. All of which when used can be presented under the term
This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired
out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than ‘sculpture’, which suggests that the discipline is no longer a recognisable art
that in which it is published and without a similar conditions including this condition being imposed on the form with fi xed boundaries and rules but instead it can expand its own terms of
subsequent purchaser.
reference at will, bringing almost anything into the mix to create sculpture. And
© 2015 Artwork and photography copyrights belong to each artist unless otherwise stated.
ISBN 978-1-909825-13-0 with the recent exponential increase in digital technology, the development of
Editing: Andy Laffan, Chris Hodson and Robin Laffan.
Design: Andy Laffan. the internet and global communications our thinking about ourselves, society and
www.barehillpublishing.com the space or environment that we occupy is changing too. Artists are visually
Front cover: Attitudes Passionelles by Louise Seijen ten Hoorn aware of these changes and are refl ecting these as social and political issues in
the sculpture they are creating today.

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