Sculpture and Talent    

 

 

Sculpture and talent

 

“I don't know if I have a talent for Sculpture”- comments such as this will be repeatedly heard from many who dream of being sculptors but are apprehensive about it. Most often such individuals exhibit a powerful desire and need to work with materials, working with their hands, yearning to experience Sculpture's creative process, “ creatio ex nihilo”, the creating from nothingness.

What does it mean to have a talent for Sculpture? Does Sculpture require a specific kind of talent, and, if so- what is it? How shall we know whether we are likely to be successful in our Sculpture studies and as creators of sculptures in the future?

 

The Dictionary defines “talent” as: “the natural aptitude or ability to do something well”

We identify talent with inborn characteristics and with potential for success. Intuition and experience tell us that talent is made manifest- for example- in children, in unusual performances relative to the normal average of their peers. And yet, all children produce excellent drawings at a very early age, and most of them “loose” this capability along the way on account of self-criticism or criticism in their environment (“this does not look like…”, “this is not the way to draw….”, etc.). In other words, all children are talented, until they learn that they are not.

The literal definition and the intuitive sense function in a circular manner: Talent is measured according to success, and success itself “proves” the existence of talent. In addition, “a natural capacity” does not lend itself to measurement apart from the educational influences from a tender age.

 

Therefore, we shall suggest to look at talent as a response to a learning process, one which may be either fast or slow at certain times, a response representing a compounded capability to internalize learning and to incorporate it in practical application at all times. In this sense, that which is “born” within the talent is the learning capability, and “success” is the continuous improvement of the individual in relation to his/her own achievements.

And, since we are dealing with Sculpture, let's say that Sculpture is a way of life, and the significance of success in this endeavor lay on the sculptor being a better artist every day, in comparison with yesterday.

 

Now, let us return to the question of having a talent for Sculpture. The above mentioned considerations do not in any way negate the existence of inborn capabilities which facilitate the learning of Sculpture. For example, just as, in the world of sound, some children possess what is called “innate musical comprehension”, there exists a visual “compositional intuition ”, so to speak, an intuitive comprehension of spatial three dimensional relations in the world of Sculpture. Nevertheless, this is not a sufficient or even necessary component for the success in creating quality art, as most great musical performers do extremely well with an acquired excellent “relative pitch”. For sculptors, it is possible to develop these abilities through practice and research into Nature, as well as through the observation of the masterworks produced through the history of Sculpture.

 

There are students of sculpture who will evidence speedy progress in their work. However, there are those destined to bloom at a slower pace. The difference between them is similar to the difference between a short distance runner and a marathon runner. One is not more gifted than the other; they simply have different kinds of talents. Such is the case with Sculpture: the talent for Sculpture is revealed throughout the journey, through trial and error and through perseverance, at times soon into the process and at other times after a while.

 

Talent for Sculpture is best revealed in the curiosity and the experiential joy and zest on the part of the individual. A talented student of Sculpture is one who produces extensively, creates numerous and varied sketches above and beyond that which is required by the instructor, researches incessantly, and is open to learn from the environment.

Therefore, the answer to those who harbor doubts about their sculpting talent is that it is not possible to know until it is tried through a profound study of Sculpture. Only then will your abilities to internalize and apply become clear, and their interaction with the will, the curiosity and the given plastic abilities. Very often, curiosity, will power and work can fully substitute for inborn gifts.