Sculpture

According to Chapter 13, all sculpture interacts with its audience in a three-dimensional way, whereas the preceding art forms discussed in the book are generally two-dimensional. As such, the former makes use of two basic processes in its creative process: subtractive and additive processes. The subtractive process, as its name suggests, entails removing material in order to reveal the sculpture. In other words, the raw material comprises a greater mass than the result after the creative process. The additive process is the opposite of this: the artist builds the sculpture from the raw material, and adds material as the piece is created.

Carving is an example of the subtractive process. In this process, the work of art is created by chipping, gouging, or hammering pieces from the raw material. The most common materials used for such work are wood and stone. There are many examples of carvings from ancient to modern times, one of which includes Nativity by Patrocinio Barela from Taos, New Mexico. This sculpture is carved from the juniper tree.

Modeling is an example of the additive process. Clay is most commonly used for modeling purposes. Its pliable qualities lends this material perfectly not only for adding to the initial product, but also for molding it according to the sculptor's wish. Clay is furthermore a popular materials because of its capacity to retain its shape after being molded. Firing or baking clay shapes makes it waterproof, hard and durable. The term commonly used for clay art and craft is ceramics.

An example of ceramics is Case of Bottles by Robert Arneson. This work creates a poignant contrast between Arneson's rough, hand-made work and the subject-matter he addresses, which focuses on mass-produced, consumer products. Clay lends itself particularly well to this clever use. In this, clay is perhaps the easiest sculpting material to work with when using the additive process.