As an experienced art writer and creative consultant, I’ve had the pleasure of exploring the diverse world of artistic expression, from the timeless allure of pencil drawings to the captivating fluidity of paint on canvas. We learned this the hard way… But today, I’d like to delve into a particularly fascinating realm – the realm of sculptural art, where the boundaries between two-dimensional and three-dimensional realms are delightfully blurred.
Now, this might seem counterintuitive…
Drawing as a Foundation for Sculpture
For many artists, the journey to sculpting often begins with a passion for drawing. The act of rendering forms on a flat surface can be a powerful precursor to the creation of three-dimensional works. As renowned sculptor Jocelyn Shu eloquently expresses, “When I make sculptural forms, I feel very much as if I am drawing and thinking in 2D—creating lines that travel through air and space.”
This symbiotic relationship between drawing and sculpture is a testament to the versatility of the artistic mind. By honing their skills in pencil sketching and life drawing, artists develop an intimate understanding of the human form, its proportions, and the subtle nuances of movement and expression. This visual vocabulary then becomes the foundation upon which they can build their sculptural masterpieces.
Translating the 2D to 3D
The process of translating a two-dimensional drawing into a three-dimensional sculptural form is not a simple one. It requires a keen eye for detail, a deep understanding of spatial relationships, and a willingness to experiment and embrace the inherent challenges of working in the third dimension.
One of the key aspects of this translation is the refinement of proportions. As Shu explains, “Drawing from a live model forces me to see the human body in a more direct, nuanced way. I can internalize how different parts of the body relate to one another — how the torso sits with the pelvis, how limbs interact with the torso, and how these relationships change based on the model’s pose.” This intimate knowledge of the figure then informs the artist’s sculpting process, allowing them to create forms that feel more natural and grounded in their physicality.
But it’s not just about proportions – the character lines of the body, those fluid, curving outlines that capture the subtle transitions between muscle, bone, and skin, are equally important. As the artist tracks the flow of a pose across the figure, they begin to internalize the dynamic energy that can be conveyed through their sculptural work.
“Each piece of sculpture becomes an exploration of those lines,” Shu explains, “trying to capture not just the physicality but also the dynamic energy I see in the model.” This sensitivity to the body’s expressive potential is a hallmark of the most compelling sculptural works, where the form seems to come alive with movement and emotion.
Embracing the Unexpected
While the foundation of drawing provides a solid starting point, the process of translating a two-dimensional sketch into a three-dimensional sculpture is often marked by serendipitous discoveries and unexpected creative turns. As the artist engages with the materiality of their chosen medium – whether it’s clay, wire, or even found objects – new possibilities and artistic solutions often emerge.
“I commonly hear people living in Taiwan, who are not of Taiwanese heritage, express how they feel at home there too,” Shu shares. “I think underlying this is the feeling of community, belonging, and safety on individual and societal levels.” This sense of connection and exploration often manifests in the artist’s approach to their work, as they embrace the fluidity of the creative process and allow their sculptures to evolve in unanticipated ways.
For Shu, this can mean incorporating natural elements like leaves, branches, and flowers into her sculptural pieces, imbuing them with a sense of organic harmony. It can also involve the use of text, which she often cuts and manipulates to create abstract, visually striking forms that challenge the viewer’s perception of language and communication.
The Dialogue of Mediums
One of the most fascinating aspects of the sculptural process is the way it can foster a rich dialogue between different artistic mediums. For Shu, her background in painting and drawing has had a profound influence on her sculptural work, as she grapples with the ways in which two-dimensional and three-dimensional forms can inform and complement one another.
“I started to regard painting more as a sculptural form and eventually turned to making sculptural works after starting my PhD in psychology studying emotions,” Shu explains. This cross-pollination of disciplines has led her to explore the materiality of the canvas, unraveling it to reveal the underlying structure and threads that have long been obscured by layers of paint.
In her piece Canvas (2023), Shu’s fascination with the physical properties of the painting surface is on full display. By carefully pulling apart the warp and weft of the canvas, she creates a captivating sculptural work that challenges our traditional understanding of the painting medium. The resulting piece, with its hanging threads and exposed framework, becomes a powerful metaphor for the act of translating between two and three dimensions.
Embracing the Limits of Language
As an artist who has grappled with the complexities of multilingual and multicultural identity, Shu’s sculptural work often explores the nuances and limitations of language. By incorporating text into her three-dimensional forms, she invites the viewer to consider the ways in which communication can be fragmented, distorted, and reimagined.
“There is the constant translating between languages and cultures,” Shu reflects. “I remember my grandmother reverting to Japanese as she aged and lost her memory.” These personal experiences have informed her artistic practice, as she seeks to challenge the rigid confines of written language and invite a more fluid, expressive mode of communication.
In her ongoing series 81 Chapters, Shu hand-cuts text from translated chapters of the Chinese philosophical work Dao De Jing, transforming each chapter into a sculptural form. By physically deconstructing and reconstructing the written word, she invites the viewer to engage with the ideas and concepts on a more visceral, embodied level.
Translating the Human Experience
Ultimately, the act of translating two-dimensional drawings into three-dimensional sculptural forms is a deeply personal and insightful process. It is a way for artists to not only explore the physical properties of the human form but also to grapple with the complexities of the human experience – our emotions, our memories, and our connections to the world around us.
As Shu so eloquently states, “This act of taking things apart and putting them back together in another form has been a consistent theme in my work. Perhaps it stems from the act of immigrating, relocating, and starting a new life in another culture. It is also there in the act of research and creation of knowledge.”
By embracing the challenges and opportunities of the sculptural medium, artists like Shu are able to create works that not only captivate the senses but also provoke deeper contemplation and understanding. Their sculptural sketches become a powerful bridge between the two-dimensional and the three-dimensional, inviting us to explore the boundless possibilities of human creativity and expression.
To delve deeper into the world of sculptural art and discover more inspiring insights, be sure to visit Pencil and Paint Muse – your go-to destination for all things art-related.
Tip: Experiment with different media to discover your unique style