Why ABSTRACT Sculpture? Part 3
I stated in Part 2 that the ‘ABOUT’ of a truly abstract sculpture, its ‘content’, would have to be redefined if there was to be any real success beyond that already achieved within its history (of around a century). I also claimed that the only parallel that it (new abstract sculpture) could look to for the conveyance of significant aesthetic feeling, was to be found in how music generates deeply felt human emotion through totally ‘abstract’ means; its ‘content’, therefore, being totally devoid of representational back up.
It generates emotion entirely through these abstract means. Which brings us to the ‘means’ of sculpture.
The means of modern sculpture, that of the last century, involved either some form of quasi or suggestive representation, or, as an alternative, a turning to and associating with, other physical and object worlds for identity and ‘meaning’. The common perception, at present, amongst the audience for sculpture, is that these conditions are satisfactory and laudable.
One has only to turn to the net where one can find literally hundreds of examples of what is called ‘abstract’ sculpture conforming to these parameters and, consequently, not really being ‘abstract’ at all.