André Prinsloo (Sculptor) The creation of my sculptures is a very private act that originates from deep within my subconscious. Often the idea just happens without much conscious thought. Verbal communication – especially with strangers, does not come naturally to me. Thus sculpture – like music, has become my universal language. In the act of creation I therefore talk to myself and it has become a way of exploring my inner emotions.
For me, there are many ways in which I can start a sculpture. Usually, movement is the spark that inspires, but lately just a simple stillness (as in yoga) in a pose can also be the trigger. As we are all human we can all identify with the emotions and feelings irrespective of our backgrounds. Therefore the human form has become my universal language in which I prefer to express myself. The extreme poses portray extreme emotions. The figures are often androgynous. Often, when I start sculpting, the rhythm, feeling and line are the important factors. Only towards the end do I have to decide on a gender and by then usually the sculpture itself has determined its own sex.
As the nature of sculpture is three-dimensional it therefore intrudes into our living space and becomes a lot more intimate by nature. It is tangible and the sensation of touch is one of our most important senses. Everybody enjoys touching or being touched by those dear to us. I find the duality of bronze as a medium fascinating. During the actual casting there-of it is hot and liquid as water. Once cast it becomes cold and hard. The sculptor’s art is to understand this medium and to create shapes and textures that will still entice the viewer to reach out and touch the warmth and softness that is captured within the work. When and if you the viewer touch my work, I have been successful to communicate with you despite our various backgrounds.
Contrary to a painting, photograph or drawing that has its own built-in source of light captured by the artist, a sculpture’s light source continually varies according to its physical circumstances. Sometimes the surface is smooth and other times impressionistic – each reflecting light in a different way (hard or soft). Another important factor is that a sculpture’s rhythm and line must be able to stand on its own without needing a patina to make it “pretty” and acceptable. I would ideally like to naturally age my work over a period of months or even years to develop its own character/patina. But today’s society is one of instant gratification and thus the use of chemical patinas.
As with people, no two works are alike even though they might be editions of the same work. The nature of lost wax casting ensures that all works are unique. Enough said about my view on my works – let them now speak for themselves….
