Introduction to the Thesis
This thesis explores the subject of time in art. Although time has often been neglected in the study of sculpture throughout art history, a greater awareness of the issue became evident during the second half of the 20th century, particularly in the last decade. One reason may have been a greater preoccupation with time in the run up to the millennium, as well as an increasing popularity of 'spiritual' and ephemeral matters during the 1990s, often called the 'New Age' decade. The study of time has also become a focus in the humanities, including the arts, as evidenced by a growing number of publications, conferences and exhibitions that deal specifically with the subject across various disciplines.
Only some literature, however, embraces the subject with sufficient depth and methodology that is of importance to cultural and artistic issues. Götz Pochat (1996, 1999) is one of the more relevant writers in the field. He applies phenomenological methods in combination with art history and theory and directs his work towards art historians rather than practising artists. Some other writers take angles that are of little value to the art practitioner as they are dealing only peripherally with the subject matter, bearing no links between art and time or temporality. Such texts often explore a subjective understanding of time, based on personal experience (e.g. Dunne, 1934).
The research thesis is concerned with traditional static media of sculpture and and any work that relies on ‘real time’ in its nature and to unfold its inherent meaning is therefore not included in the discussion. As a consequence, this excludes sculptural forms such as mobiles, motion sculpture, automatons, video and performance. Even though such 'time-based' art may appear to be of importance at first sight, it is of little relevance to the discussion. The term 'time-based art' describes an area of contemporary visual art practice whose analysis of temporal aspects and structure (i.e. reliance on succession as well as simultaneity) is closer related to drama or music studies. Linking performing and visual arts as a comparative method can, of course, give valuable insight into the nature of time in art by exploring the intrinsic differences of these media, as has been demonstrated by Richard Wollheim (1968). This thesis, however, focuses on creative practice that produces physical objects in permanent media as one of its outcomes. The difference between time-based art and traditional sculpture on the basis of time will be investigated briefly in chapter two.
The thesis is entitled Form, Material and Time and the research is focused on the static sculpture media. Form - and its counterpart space - are regarded as the very nature of these media and have therefore been central issues of research. While form is the manifestation of the sculptor’s idea, it depends on using a material that is sufficiently capable of carrying it. Hence the second area of focus, material. Similarly, material has been covered in a vast number of technical publications that aim to offer the sculptor support in realising an idea. Where does time come into this equation? The answer is not simple, but I suggest that:
- sculpture ages and decays by changing its appearance gradually over time, even though it may appear durable and lasting.
- sculpture is able to express human understanding of temporal condition and certain philosophical concepts of time.
- sculpture can depict a narrative of events that unfold over a period of time, set in a certain time.
- the beholder needs time to contemplate a work by surrounding it or returning for another visit.
- the sculptor needs time to create the work and art historians will analyse and interpret the circumstances of the time of its creation.
What has been described here are obvious manifestations of time, most of which are only be touched on peripherally in this thesis. The focus is on the more obscure aspects of time: those that are related directly to our sensory perception of form and material. To identify such aspects, I establish links to temporal phenomena in nature that share similar qualities concerning form and material. The question arises, however, of whether temporal phenomena in nature have an equivalent in sculpture at all and whether sculpture embodies temporal concepts differently to the way they are embodied in life.
The research will concentrate on the essential and intricate relationship of three inseparable factors that, I will argue, are fundamental and intrinsic elements of sculpture: form, material and time. Two initial examples may emphasize the relevance of sensory perception in the context of this relationship.
The first example is the transitional moment (also the fruitful moment; der fruchtbare Moment). By choosing exactly the right moment in a movement of a figure, the artist creates an image that not only depicts what is happening, but also is able to suggest what has happened before and what will happen in the future. Such a concept raises problems, which authors like Lessing (1964), Bammes (1997), Leber (1980) and Pochat (1996) have not been able to answer fully. For example:
As moments form continuous sequences in life, how can their isolated existence in sculpture be explained?
What enables the beholder to relate a singular moment to a sequence?
Is this visual reading conditioned, learned or inherent in our perception, is it conscious or unconscious?
How can the depiction of a single, frozen moment actually carry elements of past and future?
By relating this concept to the observation of temporality in natural phenomena it will become evident that the general understanding of this concept may need to be reconsidered and I will therefore analyse this sculptural concept in greater depth at a later stage of this thesis.
The second example is not concerned with a real or depicted event, but with the actual manifestation of a time-material relationship through form. A wrinkly apple is immediately identified as an old apple by most of us and almost instantly we are aware of its temporality. We understand that the form - the appearance of the apple - has changed with time and has done so in direct relation to its material substance. Time, form and material in nature are inseparably linked to each other by causality: the apple cannot be imagined to exist without any of these essential elements. They are intrinsic in any object whether natural or artificial. In the field of sculpture, however, the relationship of form-material-time, has not been addressed sufficiently and is consequently not yet fully understood. As it develops, this thesis will therefore address the different issues of this relationship.
The aim of this research is to raise awareness of the relationship of form, material and time in figurative sculpture traditions by:
- Identifying temporal phenomena in our environment
- Analysing the role of sensory perception in their cognition
- Comparing these findings to temporal phenomena in figurative sculpture in static media
The following questions need to be addressed in this context:
- What temporal phenomena are there in our natural environment that have specific relevance to sculpture?
- How do we perceive these and what senses are involved in the process?
- Can Gestalt theory offer a method of explaining their sensory perception?
- How are such phenomena paralleled in the media of traditional sculpture?
- Do aspects of temporality differ in nature and sculpture?
- Can sculpture enhance, express or present specific aspects of time differently?
Complementary questions need to be answered first in order to resolve the above:
- What is the relationship of concept and percept in the subject of time?
- What are the contemporary concepts of time and how do they affect the artist?
- Of what importance is time in a static medium like sculpture?
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