Truth to Material Full Realization Observation Vision & Expression Vitality & Expression Alice Miller

THE SCULPTOR'S AIMS by Henry Moore

Each sculptor through his past experiences, through observation of natural laws, through criticism of his own work and other sculpture, through his character and psychological make-up, and according to his stage of development, finds that certain qualities in sculpture become of fundamental importance to him. For me these qualities are:

Truth to Material:

Every material has its own individual qualities. It is only when the sculptor works direct, when there is an active relationship with his material, that the material can take its part in the shaping of an idea. Stone, for example, is hard and concentrated and should not be falsified to look like soft flesh --it should not be forced beyond its constructive build to a point of weakness. It should keep its hard tense stoniness.

Full Three-dimensional Realization:

Complete sculptural expression is form in its full spatial reality. Only to make relief shapes on the surface of the block is to forego the full power of expression in sculpture. When the sculptor understands his material, has a knowledge of its possibilities and its constructive build, it is possible to keep within its limitations and yet turn an inert block into a composition which has a full form existence, with masses of varied size and section conceived in their air-surrounded entirety, stressing and straining, thrusting and opposing each other in spatial relationship --being static, in the sense that the center of gravity lies within the base (and does not seem to be falling over or moving off its base)-- and yet having an alert dynamic tension between its parts.

Sculpture fully in the round has no two points of view alike. The desire for form completely realized is connected with asymmetry. For a symmetrical mass being the same from both sides cannot have more than half the number of different points of view possessed by a non-symmetrical mass.

Asymmetry is connected also with the desire for the organic (which I have) rather than the geometric. Organic forms, though they may be symmetrical in their main disposition, in their reaction to environment, growth, and gravity, lose their perfect symmetry.

Observation of Natural Object:

The observation of nature is part of an artist's life; it enlarges his form- knowledge, keeps him fresh and from working only by formula, and feeds inspiration. The human figure is what interests me most deeply, but I have found principles of form and rhythm from the study of natural objects such as pebbles, rocks, bones, trees, plants, etc.

Pebbles and rocks show natures way of working stone. Smooth, sea-worn pebbles show the wearing away, rubbed treatment of stone and principles of asymmetry.

Rocks show the hacked, hewn treatment of stone, and have a jagged nervous block rhythm.

Bones have marvelous structural strength and hard tenseness of form, subtle transition of one shape into the next, and great variety in section.

Trees (tree trunks) show principles of growth and strength of joints, with easy passing of one section into the next. They give the ideal for wood sculpture: upward twisting movement.

Shells show nature's hard but hollow form (metal sculpture) and have a wonderful completeness of single shape.

There is in nature a limitless variety of shapes and rhythms (and the telescope and microscope have enlarged the field) from which the sculptor can enlarge his form-knowledge experience. But beside formal qualities there are qualities of vision and expression:

Vision and Expression:

My aim in work is to combine as intensely as possible the abstract principles of sculpture along with the realization of my idea.

All art is an abstraction to some degree (in sculpture the material alone forces one away from pure representation and toward abstraction.)

Abstract qualities of design are essential to the value of a work, but to me of equal importance is the psychological, human element. If both abstract and human elements are welded together in a work, it must have a fuller, deeper meaning.

Vitality and Power of Expression:

For me a work must first have a vitality of its own. I do not mean a reflection of the vitality of life; of movement, physical action, frisking, dancing figures, and so on, but that a work can have in it a pent-up energy, an intense life of its own, independent of the object it may represent. When a work has this powerful vitality we do not connect the word Beauty with it.

Beauty, in the later Greek or Renaissance sense, is not the aim in my sculpture. Between beauty of expression and power of expression there is a difference of function. The first aims at pleasing the senses, the second has a spiritual vitality which for me is more moving and goes deeper than the senses.

Because a work does not aim at reproducing natural appearances it is not, therefore, an escape from life -- but may be a penetration into reality, not a sedative or drug, not just the exercise of good taste, the provision of pleasant shapes and colors in a pleasing combination, not a decoration to life, but an expression of the significance of life, a stimulation to greater effort in living.

"Because a work does not aim at reproducing natural appearances, it is not, therefore, an escape from life --but may be a penetration into reality... My sculpture is becoming less representational, less an outward visual copy-. but only because I believe that in this way 'I can present the human psychological content of my work with the greatest directness and intensity."

--Henry Moore ****************************************************************************************************************

In The Drama of the Gifted Child, Alice Miller writes "Henry Moore describes in his memoirs how, as a small boy, he massaged his mother's back with an oil to soothe her rheumatism. Reading this suddenly threw light for me on Moore's, recent sculptures: the great, reclining women with the tiny heads now could see in them the mother through the small boy's eyes, with the head high above, in diminishing perspective, and the back close before him and enormously enlarged. This may be irrelevant for many art critics, but for me it demonstrates how strongly a child's experiences may endure in his unconscious and what possibilities of expression they may awaken in the adult who is free to give them rein. Now, Moore's memory was not harmful and so could survive intact. But every childhood's conflictual experiences remain hidden and locked in darkness, and the key to our understanding of the life that follows is hidden away with them."

Influenced by Chacmool Pre-Columbian figures of worshiper making offering to gods, Moore also sought to recapture youthful memories of hilly Yorkshire countryside.

As Charles Baudelaire observed, "Genius is the ability to recapture childhood at will."