DavidRaymond, the artist behind the sculpture
DavidRaymond, the artist behind the Emmaus sculpture, is has beenspecializing in visual and exhibitionist since the early 1960s. Raymond has exhibitions in New England and also other towns andstates in the United States. Raymond`s works do not just stop in theUnited States, but he has spread his skills to Germany, Scotland,Belgium, Northern Ireland, as well as Scotland. Raymond is primarilybased in New England with an elaborate body of art work in Scotland.Apart from being skilled professional visual artists, he contributesto a New England Magazine that publishes poems as well as themagazine’s editor. Raymond graduated with B.A. Degree at theCatholic University after which he attended adult education atTrenton College where he specialized in art anatomy. He later wentfor further studies in anatomy art at Boston University and graduatedwith a bachelor’s degree one again.
Materialsin relation to forms
Muchlike a writer who decides to use text and a musician who decides touse instruments to create and communicate, Raymond used the materialused to make the sculpture to communicate as well. Thethree-dimensional forms of steel and granite balls and the wall showRaymond’s intention to utilize the surrounding physical context andto create a virtual distance between the edge of the wall and thefigurative content of sculptures. Raymond must be a minimalistartist due to his use of granite and steel, which are purelyindustrial materials. Industrial materials are ideal forthree-dimensional sculpture because they care real space. Raymondintended to be specific and aggressive in his artistic message byusing steel and granite as the main materials. Sculptures are betterthan paintings because they create space that overcomes the problemof illusionism through the objectivity and obdurate identity of thematerials used.
Thepassage of light over the sculpture
Lightusually enhances the geometric qualities of sculptures, especiallywhen artists uses strong spot light that creates a shadow to theposterior. The interplay between the objects and the light creates adeeper meaning to the work of art. Furthermore, light transformsspace and makes the sculptures appear large especially because steeland granite have reflective surfaces.
Therelationship between the sculpture and Caravaggio’s painting
Thesculpture is related to Caravaggio’s paintings. Caravaggio usedlight contrast in his paintings to create a dramatic effect. In oneof his paintings about the Supper of Emmaus, the two disciplesrealize that the stranger seated amidst is but Jesus Christhimself(Bell139).This was the reappearance after his resurrection. Caravaggioused light and dark contrast to create a realism that was typical ofclassical paintings. Before explaining the significance of lightcontrasts in paintings or any visual items, the sculpture also hassome aspects that borrow a conceptual and artistic perspectives inCaravaggio’s painting. The contrast between the sunlight and theshades creates the same impression Caravaggio often presented in hispaintings(Spike17).Such light contrasts in classic paintings intended a dramaticeffect of the event. For instance, the supper at Emmaus paintingshows the jubilation and shock the two disciples felt upon realizingthat Jesus Christ was the stranger amidst them. The light and darkcontrast in Raymond`s culture serves to define the shape of theobjects in it as well as create dramatic effects that artists oftenwant to portray through the creativity of color effects rather thanwords.Raymond also uses light and shade contrast to infuse someelement of movement rather as opposed to the still nature of steeland granite that the sculpture is likely to elicit.
Emmausart historical context in terms of conception and design
Thehistorical context of Emmaus art is based on the aggressive work ofCaravaggio. The period of Caravaggio’s at was tumultuous but witha historical imprint that inspired Raymond’s sculpture. Caravaggio’s painting was about the story of Jesus as it is told inSt. Luke’s Gospel. The light that shines in the paintings shows anawakening a new beginning for a generation. Caravaggio used hispaintings to illuminate powerful dramatic events through the use oflight and shadow. Furthermore, he challenged the conventional artforms that paid close attention distance and set his figures in thepainting against a wall while placing them not far from theforeground of the painting. He also crowded the pictures in thecenter of the painting without close attention to conventionalspacing.
Raymondalso takes from this historical context though his motivations ofdesign and conception re from the 19thcentury and early 20th-centuryindustrial revolution and the minimalist revolution brought by DonaldJudd and other sculptors such as Eva Hesse, Isamu Noguchi, and JasperJohns. For instance, Hesse created sculptures that were simple interms of severity features, but with the compelling presence(Gardnerand Kleiner 963). Hesse used the non-traditional materials ofsculptor art such as fiber glass, cord, and latex that were coherentwith the forces of nature such as gravity and atmospheric force.
Bell,Janis C. "Light and Color in Caravaggio`s" Supper atEmmaus"."Artibusethistoriae (1995): 139-170.
Gardner,Helen, and Fred S. Kleiner. Gardner`s Art Through the Ages: TheWestern Perspective. , 2014. Print.
Judd,Donald. "Specific objects." Arts Yearbook 8 (1965): 74-82.
Spike,John T. Caravaggio. Abbeville Press, 2001.