Anne Cecile Surga
ART Habens
use plastiline to create models as it has the same texture of clay but it does not dry, so I can hop on and off a project regardless of time constraint.
Two years ago I had the amazing opportunity to be introduced to marble carving by Pablo Atchugarry in his foundation in Punta del Este, Uruguay, which has been a turning point for my work. I finally found a material that was strong enough to hold pretty much any form, and difficult enough to work to keep me captivated. I can work marble for several hours straight without stopping, and I know the machines or my strength will give up before the material ever will. As much as I love to battle with a material that is stronger than me, the ultimate goal is not only about my self-satisfaction in making a particular work. I have to take into account that- in order to be a significant piece- the general feeling emanating from the piece is as important as the form itself. The kind of material I select for a specific piece will play an important part on that sensation. For example, the materiality of marble is very down to earth because marble is in itself a very heavy material. If I want a sculpture to give an aerial sensation, I will have to use another material. I can use the same material entirely raw and let it expresses its essence in one work while taming it in another work. For example I threw plaster on the surface of but I tamed the same material and covered it with a resin varnish in
. Thanks to all my trials and errors I now have a larger catalogue of techniques and materials to choose out from in order to select the most appropriate for a new work.
21 485 Special Issue