The head
I am about to start the final phase of the sculpture that I intend to donate to the Church of St. Merri. The idea started with a creche or a Nativity scene but as the work progressed I thought a single work representing my take on the Child Jesus would suffice. The sculpture is a Santo Nińo as we call it in the Philippines. I made slower progress on the work for the past month, owing to my schedule of visiting areas of interest outside Paris. The sculpture was already 70% done when I, together with my wife Grace, traveled to Normandy (Rouen and Lisieux), Eure et Loir (Chartres), Burgundy (Nevers) and the Mid-Pyrenees (Lourdes).
Together with my research in art in the churches of Paris and the works of religious art in the museums, these outbound travels in France gave new dimensions to my approach to my work. Among the many important accomplishments that I have done within the three month residency is the coalescing of my statements about rebulto-making into a compact art project. In short, I've understood the undercurrents of my artistic practice - from its history and its present state - to formulate various trajectories of work in the future. Non-art sources and references, especially literature, have contributed greatly to this endeavor, to cite a few: the works of Dumas, Zola, Balzac and Proust. I am also indebted to the writings of Abbot Suger, and the principles of Sacred Geometry in Gothic architecture.
The sculpture may very well represent the point of departure for these new insights. It will serve as a prototype for a work that I intend to make before the year is out. Thus, I begin...
Together with my research in art in the churches of Paris and the works of religious art in the museums, these outbound travels in France gave new dimensions to my approach to my work. Among the many important accomplishments that I have done within the three month residency is the coalescing of my statements about rebulto-making into a compact art project. In short, I've understood the undercurrents of my artistic practice - from its history and its present state - to formulate various trajectories of work in the future. Non-art sources and references, especially literature, have contributed greatly to this endeavor, to cite a few: the works of Dumas, Zola, Balzac and Proust. I am also indebted to the writings of Abbot Suger, and the principles of Sacred Geometry in Gothic architecture.
The sculpture may very well represent the point of departure for these new insights. It will serve as a prototype for a work that I intend to make before the year is out. Thus, I begin...
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