Obviously, with this term we do not refer exclusively to the specific group of modern "fusion and soldering" techniques whereby, through the application of high temperatures (obtained with an oxyacetylene welding torch, various kinds of burners, electric arc, etc.), two metal pieces sometimes of different nature are "welded" together, but to the whole set of "assembling" techniques used to join the different components of an artwork. Welding is a widely used technique in contemporary sculpture, although examples can be seen in the most ancient statuary. The bronze casting technique offered undeniable advantages over stone carving, as the greater cohesion of the material allowed the artist to explore more freely the expressive possibilities of posture and pose of its subject into space, without risking any damage and thus achieving a more lifelike and natural result. John the Baptist by Lorenzo Ghiberti (1412-1416), wisely made in several separate parts joined together at a later stage. The first, large-sized statue of the modern era cast with the lost-wax technique is the St. With the Renaissance, and the general rediscovery of the culture of classical antiquity, the technique was revived. Bronze casting of small-sized objects was still employed, but these were "solid" castings, unfeasible on a larger scale. The technique fell into disuse during the Middle Ages, surviving only in the Byzantine Empire. Among the best-preserved ancient pieces produced with this method are the Riace Bronzes (Bronzi di Riace), dating back to the Classical period. The sectional segments frozen in time as abstract shapes, awaiting the moment of transformation as an architectural ornament, portray perhaps an analysis of the designing process, or a narrative of metamorphosis.Īs Fumiko states: My interest in creating this composition is to reveal the otherwise imperceptible core as a visible and tangible shape, experimenting with the possible harmony or maybe discord by shifting the scale through repositioning ornaments taken directly from architecture onto the human body, and to validate its allure as a body ornament which synchronically brought to light by an unorthodox process of designing jewellery.The lost-wax technique, for casting large, hollow bronze statues, has been known since ancient times. The fascinating beauty of shapes in numerous variations is revealed by dissecting mouldings that otherwise are simply applied longitudinally in a room, and by viewing the sections one is appealed to imagine how complete mouldings may appear in a room. The profiles are designed and arranged some have been taken from existing examples, all true to architectural scale, therefore the title MAQUETTE 1:1. These components define and frame a space conceptually, connecting floor to wall and wall to ceiling or handrail that escort human movement in space. The design of the brooches/objects evolved from three elements: cross-sections of baseboard, chair or handrails, and crown mouldings. Perception of space is marked by architectural elements which compose our surroundings, and the recognition of that space is linked to the scale of human physiology. Each piece is carved out of beech wood and finished with Japanese Urushi lacquer in high gloss, paying an Homage to the oldest surface treatment used for temples and shrines in ancient Japan. The work of MAQUETTE 1:1=1, a series consisting of brooches/objects, is inspired by architectural ornaments. ![]() ![]() ![]() Ten hand-carved wood with Urushi lacquer surface finish brooches inspired by architectural ornaments created exclusively for our gallery. Hannah Gallery presents in Barcelona Maquette 1:1=1 the second solo show with the Japanese artist Fumiko Gotô.
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