Identification of the Artist

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Identificationof the Artist

DavidRaymond is known for making substantive art. He was a painter,sculptor, art writer, poet and a teacher at Merrimack College inNorth Andover, Massachusetts. He has been in visual arts since 1960sand has developed numerous contemporary arts such as the Emmaussculpture (Pottertonand Michelangelo 3).His arts have been exhibited in New England, in some parts of theUnited States of America, Germany, Holland, Scotland, NorthernIreland and Belgium. He primarily worked in New England, publishingpoems in a magazine, although he also developed an extensive works inScotland. He pursued B.A in art at The Catholic University, USA andalso furthered on it at Trenton State College before pursuing artanatomy at Boston University.

Materialsin relation to forms

Raymonddecided to select materials selectively to make sure that they makethe intended artistic impact. He used stainless steel to make thewall and granite to make balls. Their three dimensional forms revealshis intention of utilizing the physical context of the environment,creating virtual distance between the wall and the balls as well asconveying an understandable message figuratively. Materials usedreveal the artist’s aggressiveness in conveying the intendedmessage. The value of stainless steel and granite which are the chiefmaterials passes across a message of the value of the work (Felchand Gary 13).Both the stainless steel and the granite are relatively bright andmatch perfectly with the floor where they are placed. Their colorfits perfectly with the environment. The balls also seem in astraight line. These features reveal well organized piece of art.

Placeissues

Thesculpture is generally bright. The environment is generally dull dueto the green color of the grass as well as the shadow of the house.This makes the sculpture very clear and creates a perfect distinctionof the sculpture and the environment (Artin America3).The sculpture also matches with the house’s top part. The color ofthe sculpture makes it totally independent to be easily viewed andmatches with some other features portrayed in the entire art.

Passageof light over the sculpture

Thelight passage creates a real dramatic effect. The light effect seemsto have the same visual effect in that it resembles the color of thesculpture. The sculpture also seems to be reflective. They appear toreflect the light that falls on them (Artin America4).The light passage creates a dramatic illumination that reveals theaspect of change. This is because in the normal condition, nodramatic effect that was witnessed when the sculpture was exposed tothe natural light. The light that has been introduced and passed overthe sculpture makes the sculpture to resemble it meaning that itilluminated light when it was subjected to this light.

Connectionsto the Biblical narrative

Thejourney of Jesus and the two disciples as described in the book ofLuke 24: 13-31 is depicted figuratively in this sculpture. There arethree balls in the sculpture while the Biblical story involves threedifferent people the two disciples and Jesus of Nazareth. In theentire journey and until they reached in their home, these disciplesdid not have any revelation or knowledge of who the stranger was. TheBible says they were restrained such that they could not know him inLuke 24: 16. The fact that there are two balls on one side and one onthe other depicts the wall as the restrainer of knowing Jesus who waswith them. The sculpture describes them in one line although indifferent sides of the wall (Artin America7).The light resembles divinity that appeared to these disciples oncethey ate bread which Jesus blessed and immediately Jesus vanished andthey were left the two of them.

Relationshipof the sculpture and caravaggio`s painting.

Thereis a close relationship between this sculpture and the caravaggio`spainting. Caravaggio was investing his pictures heavily with thesense of powerful dramatic means of handling shadow and light. Hisfigures were not revealed in the day light. He made use of lighteffect that was descending vertically over the principal members ofthe works and leaving the rest in the shadow (Felchand Gary 24).This was giving force the involved parties through a contrast of darkand light. The Raymond’s sculpture also utilizes this principle intwo ways. One is that the sculpture is given a bright color in themidst of a dull environment of grass and houses shadow. Secondly, adescending light on the sculpture is employed that creates a dramaticeffect on the sculpture only.

Emmaus’fitting historically dating as it does, from conception and design

Thesculpture represents a significant timing in Jesus’ ministry. Itwas just after His resurrection. Everything seemed normal, dull andsad. He appeared to these two men who were heading to Emmaus.Although they did not know Him at first after eating bread that wasblessed by Him, a certain divinity fell on them and got a newrevelation (Artin America14).They ran back to Jerusalem to explain to other disciples that indeedJesus was alive. The sculpture reveals transition from the sadness toa sense of joy, from darkness to knowledge and understanding. Ithence marks Jesus revelation to people after His resurrection.

Workscited

Artin America.New York, N.Y: Art in America, 1982. Print.

Felch,Susan M, and Gary D. Schmidt.&nbspTheEmmaus Readers: Listening for God in Contemporary Fiction.Brewster, Mass: Paraclete Press, 2008. Print.

Potterton,Homan, and Michelangelo M. Caravaggio.&nbspTheSupper at Emmaus by Caravaggio.London: National Gallery, 1975. Print.