Thinking of Sculpture in Relation to Conditions and Material: Transferring the Wooden Sculpture to the Metal

The observable effect of outdoor conditions on a wooden sculpture can be slowed down by routine protective applications, and there are examples of works in which wood is included in the design under these conditions. Among these examples, it can be seen that the artist designed his work, which he created with the trees he found in nature, as a part of the natural cycle; did not interfere with the differentiation and unforeseen possibilities in the appearance of the sculpture with the seasons and was positioned as an observer following the process by recording this change with photography and drawing. On the other hand, it is seen that transferring the wooden sculpture to a material with higher durability in order to preserve the integrity of its existence and form, especially in outdoor conditions, is seen as an application that creates a solution by the artists. In this study, the preference of the artist to transform his sculpture into metal to increase the physical permanence of his sculpture and its resistance to conditions was examined through examples of wooden sculptures shaped with different methods. It is emphasized that the realization of the same form with a different material turns into a creative application area for the artist and that the changing material reproduces the fictional form-content relationship. In addition to the examples in the text that the transfer of the sculpture to the metal supports this relationship established by the artist, the sculptures that take the contradiction created by the wooden appearance and the metal material as the basis are also included.

Keywords

Sculpture, Time, Wood, Metal, Permanence