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Modernist Sculpture and Nature's Artistry Constantin Brancusi introduced direct carving in the early twentieth century. Direct carving transformed sculpture practice, as it removed earlier phases from the process. It replaces the act of copying the original model to the larger block. This involves clay modeling or pre-carving plaster. The artist works without external reference points and intermediary assistants. Instead, the sculptor gets to engage directly with the block, finding her way to the form. The artist immerses herself in the process. And imprints something of her personality into the final work. This variety of expression enabled modernists like Henry Moore and Jean Arp to bring their unique visions to life in the block.  Barbara Hepworth with The Cosdon Head, 1949. The Hepworth Photograph Collection Courtesy Bowness. Photograph: Hans Wild (1) Direct Carving: Transforming Stone into Art "I rarely draw what I see – I draw what I feel in my body." Barbara Hepworth 1966 (Via Tate UK) Direct carving allows more than a deep understanding of the material. It also allows the artist to put their personal stamp on it, making the art one of a kind. The in-the-moment process makes the stone expressive. And perhaps shaping the artist at the same time. Barbara Hepworth adopted this direct carving technique. She approaches the form from within, rather than an outer reference point. (2) In the article from Tate UK, Hepworth speaks of her experiences of “figure and landscape" — in connection to form. In Mother and Child (1934), for example, two forms are placed in warm and moving relationship. Their curves model a human gesture of embrace and protection. Simultaneously, the non-figurative work embodies landscape elements, perhaps hills underneath a sky.  Mother and Child, 1934, Tate Gallery, London (3) Why is Human Experience Important in Art Forms? Capturing inner experience in one’s chosen material differs across artistic disciplines. A painter might focus on color mood. A writer will use description to evoke atmosphere. A composer may receive a musical theme while strolling through the woods. Direct carving requires of the artist to be true to the nature of the materials. Its properties, color, and surface, while bringing out its inherent beauty. Hepworth’s contribution was piercing the block, pioneering the void in the mass. Her use of a round negative space in a flat slab in Single Form, for example. Enhanced with surface markings and rounded edges, it transports the viewer to a landscape, time of day; or it may evoke a personal response. Observing its curved edges, the viewer may feel into its delicately sensual movement. A Timeless Sculpture Philosophy Hepworth dedicated her time to wood, stone and plaster to the point of understanding them from the inside out. With direct carving, she connected the forms with her artistic experiences. Whether native landscapes or the soul-scapes of motherhood. All while remaining true to the materials.  The plaster for Single Form at the Morris Singer foundry. Photograph by Morgan-Wells (4) Art Observation in 4 Stages of Hepworth's Single Form Single Form, 1961-4, bronze, 21 feet in height (6.4 metres), United Nations Building, New York. Physical characteristics This tall, slender plaster form evokes a smooth, weathered pebble. An elliptical void pierces the upper left, while organic curves balance against four straight edges. Three incised lines traverse the surface, creating measured proportions. A dotted texture across the flat planes enlivens the form, catching light and adding tactile depth to Hepworth's elegant composition.
Energy characteristics The form tapers at its base, creating an imposing, upward thrust that commands attention. Yet its shallow profile and absorbing void evoke stillness and quietude—a contemplative pause. This serene quality finds contrast in the animated, dotted surface texture, which seems to dance and bubble with unexpected energy across the stone-like planes.
Feeling characteristics
Essence and Identity
References: 1. Barbara Hepworth with The Cosdon Head, 1949. The Hepworth Photograph Collection Courtesy Bowness. Photograph: Hans Wild www.spectator.co.uk/article/how-st-ives-became-barbara-hepworth-s-spiritual-home/ 2. "I rarely draw what I see – I draw what I feel in my body." Barbara Hepworth 1966 —Via Tate UK https://www.tate.org.uk/research/tate-papers/20/figure-and-landscape-barbara-hepworths-phenomenology-of-perception#none 3. Barbara Hepworth on motherhood, Mother and Child, 1934, Tate Gallery, London https://blog.fabrics-store.com/2022/03/13/making-it-work-barbara-hepworth-on-motherhood/ 4. The plaster for Single Form at the Morris Singer foundry. Photograph by Morgan-Wells https://barbarahepworth.org.uk/commissions/list/single-form.html Comments are closed.
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