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My objects are to be seen as stimulants for the transformation of the idea of sculpture.. ..or of art in general. They should provoke thoughts about what sculpture can be and how the concept of sculpting can be extended to the invisible materials used by everyone.

THINKING FORMS – how we mold our thoughts or
SPOKEN FORMS – how we shape our thoughts into words or
SOCIAL SCULPTURE – how we mold and shape the world in which we live: Sculpture as an evolutionary process; everyone an artist.

That is why nature of my sculpture is not fixes and finished. Processes continue in most of them: chemical reactions, fermentations, color changes, delays, drying up. Everything is in a STATE of CHANGE.

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—	Joseph Beuys, Theory of Social Sculpture, 1979 (via belacqui)

BODIES AS

sapphireskunk:

As a suffix.
As a bird.
As direction.
As a binding, as a book.
As measure of holy.
As portions, as pure.
As castled into roughness.
As auguries of warmth.
As auguries of lust.
As proof of addiction.
As favissa of temples, as temples.
As windows in churches or clerestory to a heavy, nameless thing.
As red and most visible.
As doorframes, as bones.
As entrance to endings.
As approximation of an alphabet.
As catalog of wound and salve.
As tools, as corners, as tactile names.
As antecedent to surrender.
As wrecking, as wreckage, as reckoning.
As bodies.
As reckoning.
– Alisha Bruton
Diagram 10.1

explore-blog:

The timelessly brilliant Hannah Arendt on time, space, and where our thinking ego resides.

(via https://www.youtube.com/watch?v=Wz5DBH1-J9I)

Living in cities is an art, and we need the vocabulary of art, of style, to describe the peculiar relationship between man and material that exists in the continual creative play of urban living. The city as we imagine it, then, soft city of illusion, myth, aspiration, and nightmare, is as real, maybe more real, than the hard city one can locate on maps in statistics, in monographs on urban sociology and demography and architecture.

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