The negation of mass and volume in modern stainless - steel metal sculptures

In the specific practice of the exploration and innovation of the concept of space in modern metal sculpture, in addition to the exploration of internal space and negative space mentioned above, there is also a kind of spatial awareness achieved by negating the sense of mass and volume of traditional sculpture.

Traditional sculpture focuses on occupying space to the greatest extent in the form of a solid entity, emphasizing the treatment of the surface masses and the manifestation of the sense of mass of the sculpture. However, by negating the sense of mass and volume of the sculpture and changing the originally plump, solid and tension - rich sculpture surface into a shriveled, uneven form lacking a sense of mass, it negates the spatial concept of traditional sculpture from another perspective.

If the previous exploration of internal space and negative space is a macroscopic exploration of spatial awareness in modern metal sculpture, then the negation of mass and volume proposed here is its microscopic exploration of the concept of space.

Among the artists who explored space, Alberto Giacometti is one with a unique style. He artificially excluded factors such as the sense of mass and volume that sculpture has always emphasized, leaving only extremely limited space. This made his works far from the realistic expressionist modeling style and sharply expressed the restlessness in his heart. Those slender human bodies, the weather - beaten, rough buildings, and the rigid and deformed human images are surrounded by a sense of loneliness and desolation, and the human figures deviate from reality.

It can be said that what the works present is not the form of people in real life, but the author's own views and understanding of the world: indifference, loneliness, discrimination, alienation, and his sober despair towards that specific era, being neither able to reverse nor stop it. The effect of the works on space shows the philosophical thought of existentialism, and also shows the negation and subversion of mass and volume in form.