After decades of private research and grant funded agendas in academic realm, Sculptor Chris Rothermel brings knowledge forward both privately and in the public sector. Equally versed in metal and stone his years of building experience are now being applied on a larger scale.
At Sculpture Practice our time is split between the fine arts and support of the A&D Disciplines applying our artistry to those 'offbeat' projects that need a specialized approach.
We deliver one of a kind works as finished objects in the fine arts and built environment. Our works achieve unparalleled results in industry where we remember the ancient methods that brought us to where we are today.
I choose processes, materials and experience to form what I believe to be the work that defines my artistic practice. Like most sculptors these three categories can easily define to some extent what we all do. The original choice of materials in my academic training was defined by the end result. If I wanted to work with the figure I needed to learn to work with the materials of clay, plaster, bronze and stone.
As time moves on, these materials have proved to be the beginning of what has been a massive technological advancement in materials and their transformation. Mostly for practical purposes new materials have transformed the artist’s perspective on the possibilities of form. Not to mention modern industry has made materials and their transformation globally possible. What artists engage in can now be called visual art practice in distinction of the traditional engagements of painting and sculpture.
Some artists remain as traditional artists; some exclusively engage in only visual art practice and some like myself remain ambivalent on this definition. On one side, all I do is practice, refine and experiment with materials and techniques within my discipline of sculpture. On the other hand, I find it more and more difficult to practice exclusively within my discipline and have begun to look outwards for answers and new types of knowledge to understand what I know. This reflects a persistent visual art culture that is constantly looking to the other to be inspired or for new interpretations.
In most recent years I have been interested in the expanded visual field because in reality with travel and living overseas for an extended period of time my visual field has expanded. As I have come to know my discipline more deeply by witnessing and engaging in it as an observer, artist and tourist, I have come to appreciate what it is that I know by my reinterpretation of it. To go and learn the compass enlargement technique in Italy was a dream, but in a reflective practice in addition to trying to employ the process as it is, my desire to explore the effect of how a triangle on the wall used for enlargement of a three-dimensional form generates that form from a two-dimensional surface is fascinating. This can only be contemplated through this notion of an expanded experience that has moved outside the studio.
My exploration is within this interpretation of the collective experience of different forms of sculptural practice in different parts of the world that I thought I knew before I got there. This in essence focuses on the work of art as being the creative end in and of itself. Inspiration is derived from the mind’s ability to compose and comprehend past, present and future experiences within an art form. There is constant visual communication among the “three-dimensional artist,” the material and the visual field. It is this triangular relationship that drives my research and cultivates a rich environment for new ideas and methods of working...
Sculptor Chris Rothermel
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