Montaña Mágica”  - Versión final


The creative process provides one of the most fascinating performances that can be witnessed. It is not only fascinating to watch the procreation of sculpture; it is also stimulating and suggestive to other sculptors. For this reason Sculpture International begins with this article a documentary series on the conception and gestation of particular works of sculpture.

The next article in this series will be in the autumn issue.
If we were to ask a sculptor what the motivation of an art-work might have been it is unlikely we would receive a clear answer; indeed the artist might not recall in detail the stages of his ideas. From the theory put forward by some poets that “art is a reflection of cosmic sources” to Freud’s theory that art is the “sublimated expression of repressed instincts” there have been formulated the most varied and contradictory thoughts around the problem without ever a satisfactory definition being produced.

Although we may find it difficult to see the beginning or end clearly, the observation of some stages of the creative process provides eloquent illustrations in naked simplicity of the dynamic and urging disquiet which permanently reside in the artist’s mind. In this series of photographs some of the phases of a single work are shown. While the complete road of an artist’s progress to a work cannot be totally represented, the important stages, including previous works on a similar theme are very revealing. From the first vague, amorphous idea we will observe a direction or intention, and how this progressively seeks to dictate.

Stage 1
Stage 2

Each change of the elements of composition will indicate something about the struggles which are enacted in the artist’s mind. If the variations which take place are interesting, more so is the presence of a purposeful line; the efforts of the sculptor to adapt plastic elements to a particular order preferred by him, in which we can perceive that which is essential and invariable: the artist’s leitmotiv. The lines, the emphases of lights, the volumes and the spaces will provide by their variation of place (as for example, here between phases 2 and 4) indications of the psychic forces which motivate the author. Every achievement on the way to a personal perfection, or a more clear-cut presentation of what his instincts demand, will be a triumph which the sculptor has felt, and in turn that will be sensed by us also.

This spectacle of creation will be stimulating for widely differing artists, and will stir by contact, and liberate latent but perhaps remote ideas. The curiosity of the witness, drawn from amorphous or lightly sketched suggestions to full development and clearer intentions, will provide a personal stimulus on alternative variations. Until we reach a complete and viable organism, a satisfaction of will and its expressed form, this development provides a sequence (a time element) which a single work of art complete, does not possess.

Stage 3
Stage 4

A work may not be only the completed image; it could likely be the continuous interplay of psychic rhythms. I cannot otherwise explain the constantly renewed necessity of beginning yet another work immediately one has been completed. Perhaps the degree of satisfaction derived from any one work is related to the capacity it has for fixing within it the greatest number of movements of our physiological machine.

Traversing the different stages of a completed sculpture revives for the sculptor the tensions he experienced between searching and finding. The questions it may prompt about ulterior and more hidden sources I leave to philosophers; for me it provides a stimulating spectacle.

Stage 5
Stage 6
MARTIN  BLASZKO  -   Sculpture International, Volumen 3 numero 2/3, Verano 1970.