Surrounding myself with so much contemporary art can sometimes be exhausting; there’s so much technology to take into consideration with this genre, so many modes of display and notions of space that you have to consider in the reading of it. For me it’s really refreshing to take a step back from it all and immerse myself in more traditional art forms. These photographs were taken at The National Museum of Scotland in Edinburgh. I’ve always found the history of sculpture fascinating, I think mostly because I am in total awe of the skill and craftmanship which would be required in the making of marble sculptures such as these.
What I’m intrigued by is how our use of sculpture has evolved over time. Traditionally in places such as Ancient Egypt it was used as a representation of Gods and deities. Sculpture is a fundamental component to certain cultures and religions. Places such as Hindu temples are embellished with religious motifs and decor. The stone, bronze, and iron materials all come to take on the form of a god-like being that cannot be made physical through any other manner. Ancient Greece is renowned for its captivating monolithic sculptures; pieces that were carved out of a single block of stone in depiction of all their Gods. These days sculpture is used very differently, more often than not it is used as a means of forcing us into an awareness of self through our relationship to a sculpture in a certain space. This way of working has for me become so commonplace, that I have almost lost interest. I want to go back and look at the traditions of sculpture; it’s rich history.
My love and interest in history as a subject of course feeds this intention of mine. I studied history all through school and had it on the cards to study at university level. Art of course got the upper hand in my final choice of study, but my love of history remains and I currently do weekly volunteer work as an archive researcher which is something I absolutely love. So for me sculpture is very much imbued with history, neither can be separated from the other; both entirely and intrinsically linked. The history of sculpture is also mostly concerned with the human form, again a predominant interest of mine. Both my human body and historical interests is why I am more drawn to the ‘modern’ sculptural works of Henry Moore and Barbara Hepworth as opposed to something like Tracey Emin’s bed piece. Despite Emin’s conceptual reasoning for this piece, to me it is in all honestly entirely mundane. Traditional sculpture on the other hand, such as the work pictured here, is truly mesmerising to me. How long did these take to construct? What kind of tools were used? How many people worked on them? What were they created for? How old are they? All of these questions and possibilities run through my head when I look at traditional pieces such as these and regard them in relation to their historical presence and significance.