Abstract Geometric and Organic Relief

Definitions

Form is the shape that a three-dimensional object takes, be it a cube, cylinder, leaf, head, or any volumetric shape. Complex objects can be broken down to its constituent simpler forms. For example, a head study can be composed of a series of spheres, cylinders, and cones; the collection of which aggregates into a proportional human head. A way to understand the simpler forms within a complex object is to reduce or remove its textures, colors, and details. This method of simplification is a type of abstraction that uses simplified form to evoke real objects.

Abstraction in the visual arts is the creation of form and composition that need not refer directly to any real object, though it is most often derived from the natural world. To abstract is to forgo accurate visual or physical representation, instead relying on our sense of composition to create a work of art that satisfactorily represents the subject.

Composition is the arrangement of elements within an artwork. This controlled placement of forms is what gives a work of art its sense of balance or imbalance. Deliberate manipulation of a collection of forms within a defined space allows artists to work towards compositions that are pleasing, interesting, or evocative. Composition itself is informed by natural relationships and the way that the brain interprets them. What we know as good composition is derived by both a natural sense of balance and proportion between shapes, as well as an intellectualized knowledge of historical and contemporary ideas about composition.

A random tossing of objects within a defined space creates a naturally derived arrangement that is a visual composition. Though it is not deliberately composed, it is a composition because we interpret it visually. Millions of unique compositions can be generated this way using the same initial elements and the space in which they land. These compositions may be used to inform an artist, but in themselves are not necessarily art. It can be argued that these are indeed art because they were tossed by a hand and thus human-made and tossed into a defined space, but if the toss is truly random, there is no control of the outcome. It is common for artists attempting to create randomness by deliberate manipulation to actually create compositions that are not representative of true randomness. The reason for this is that we sometimes believe that randomness means there are no patterns, but in reality, randomness creates patterns which may feel unnatural, such as two objects next to one-another, three objects forming an obvious triangle, or a clump of elements that feel too crowded. 

Non-objective art is pure abstraction, and breaks from any known natural visual cues. In reality, this is extremely difficult to achieve, as the artwork itself is physically in the world, and is made with real materials that obey the laws of physics and visual phenomena.  The brain is an interpretive machine that naturally creates relationships and even meaning from any input, be it sight, sound, smell, touch or taste. So even though an artist may intend to create a work of pure abstraction, it may not be viewed that way.

Referencing for an abstract relief sculpture

Studying pattern in nature informs our understanding of composition. An excellent source of reference for geometric and organic relief sculpture are textures and patterns that exist throughout nature. These exist from the micro scale to the macro. 

                                   

Desert Rose gypsum crystal, photograph by Didier Descouens; Pyrite crystal, photograph by Ivar Leidus; Bismuth crystal, photograph by Alchemist-hp.

A source of patten can be found in the growth of crystals, constrained by the chemical composition of a mineral, affected by external forces such as moisture, temperature, pressure, impurities, and time. Although regular patterns can be found in crystalline growth, almost no crystals are perfectly regular. The most interesting parts of crystals are where they are disrupted.

 

                     

Leaves from a Sweetgum tree, photograph by Deitmar Rabich; Bay leaves drying, photograph by Sagar Kolte; Creek with rocks, photograph by Joel Toryd.

Another source for pattern is found in collections of similar objects such as a pile of leaves or rocks in a stream. In both of these cases, natural processes aggregate these similar materials into groups that are both random and logical. Leaves fall from a tree, landing beneath them, and are blown by wind into groups. Rocks in a stream settle in patterns that are defined by currents. Larger rocks are more difficult to move, thus resist the current, whereas smaller rocks, sand and silt only settle where the currents allow. Stratification and changes in scale are naturally occurring patterns in nature.

   

Lepidodendron fossils, 250-350 million years old. More about these primitive plants can be found here Links to an external site.. Source: Wikipedia.

The growth patterns of living as well as fossilized plants are a fascinating source of inspiration, often employed by printmakers, photographers, and ceramic artists to create or evoke texture.

                      

Spacer fabric, photograph by Elkagye; Bacbac weave, photograph by Alma Gamil; Greek village, photograph by Michael Nicht.

A third source of abstraction is to look at details of human made objects such as fabrics, woven baskets, and architecture. Or on a macro scale, urban planning exhibits both regular patterns and natural boundaries defined by the landscape and the needs of the community.

                    

Works by monochromeandminimal.com Links to an external site., designed on a computer and 3D printed, though they can also be made of wood, stone, metal, plaster, or clay.

A fourth invaluable resource is examining existing abstract relief sculptures by artists and artisans. An artisan is a skilled person who makes objects by hand, not necessarily for fine art purposes. These kinds of relief works are common in architecture as well as interior design. These artistic works are used in these settings to attract the eye, define a space, or to add liveliness to an otherwise plain space.

A beautiful aspect of the works above are that each piece utilizes a unique single visual theme that is transformed throughout the composition. Some forms seem to repeat exactly whereas others change within the same composition. Note how in each sculpture, there is a unit or module; sometimes the module is whole, such as a complete circular cone, and with others it is 3/4, 1/2, or 1/4 of the module. This adds visual complexity because the grid is constantly broken up yet defined. The grids for each of the pieces by "monochomeandminimal" are 5x5, or 25 whole modules broken up.

                     

Works by Jeannine Marchand Links to an external site., hand shaped from clay.

The gorgeous folds in Marchand's work are sensual and alive, undulating as though in constant motion. This is meticulous work that feels both constrained and free flowing. There are upper and lower limits to the scale of her forms within each composition. No two pieces or even individual elements are identical, yet all of them relate completely to one-another. Shadow and light are extremely important to this work as is the smoothness of its surfaces. Each sculpture feels as though it is a single surface, appearing wrinkled by natural processes, but strictly defined, and deliberately limited.

     

   

Ennis House. Designed by Frank Lloyd Wright Links to an external site., made from concrete.

Architecture has a rich history of relief, and Architect Frank Lloyd Wright designed the Ennis House utilizing hand-cast concrete blocks which were made with materials found on site. The patterned design is repeated throughout the house, both interior and exterior, blended with smooth blocks and other building materials. The block design was influenced by Mayan temples. Mr. Wright was drawn to the cement block because at the time, this material was the "cheapest and ugliest" product in construction, and he wanted to experiment with making it beautiful. The blocks were made on site using aluminum molds. Ennis House has become a famous film location for movies such as Blade Runner, Karate Kid III, and shows like Game of Thrones. The system of designing with blocks was known as the "textile block system". Four homes were created using this technique, each with unique block designs.

                  

               

Relief work by David Umemoto Links to an external site., made from cast recycled aluminum.

Artist David Umemoto works in relief as a method of composing large mural-sized works. His designs are created by hand, as his belief is to work slow and resist technology. In his own words, his work is meant to evoke lost cultures, ruins, and transformative relationships between individual tiles. In the Metropolis Series, (top row), there are but three tile designs that are randomly laid out. They can be rotated and reordered, allowing for a large variety of edge transitions. In fact, with three designs, each having four edges, there are 48 possible edge transitions. The question must be asked: are these tiles really randomly laid out? Would the artist accept five in a row of the same piece in the same orientation, or even two?

                

        

Top left, Ethiopian grave markers; top right, Mayan Glyphs; bottom left, Egyptian hieroglyphs; bottom right, Indian glyphs as part of a large temple.

Many cultures have used relief as a method of communication, depicting their own unique form of writing, known as glyphs. These carvings adorn structures, temples, and tombs. It is important to recognize how long these works have lasted in the elements, indicating that they are very powerful messages to their societies. It is difficult to comprehend the creation of such detailed work with relatively simple tools and manual labor. Some temples have many thousands of carvings adorning every surface. There are three reasons these amazing works have stood the test of time: they are cherished by their culture, made from stone, and are relief against a solid background - which holds up better than in-the-round work.

                  

Zapotec stone carvings, from Oaxaca.

These stone reliefs found adorning the palace at Mitla are highly geometric and defined with sharply cut edges that create two surface levels. The variety of patterns within this simple motif show variation on a theme. Here, one type of pattern stacks upon another in layers up a wall. Studying these walls closely, you will find that the patterned stones are made from many small pieces precisely and tightly fitted. This aesthetic is reflected in modern industrialized machine made architecture, but this original work was actually done entirely by hand. In some cases, regular horizontal and perpendicular elements are utilized. In others, there are precise diagonals, and still others irregular angles and juxtapositions.

 

                    

                  

Wood relief carvings. Top from left to right: Nordic, Maori, Chinese, and Uzbek. Bottom from left to right: Japanese, West African, Haida, and Balinese.

Carvings in wood are extremely common throughout the world. Not many are very old due to the biodegradability of the material. Wood relief is used as a means of communication,, demarcation, and adornment. Each culture creates a visual language that is distinctive. Common is the use of repeating forms; some are precisely repeated while others change organically. it is interesting to note the free flowing lines in some pieces and hard edges in others. Many reference nature in some way, such as plants or animals. I have left human representation out of this page for the most part because the topic is geometric and organic relief, but many cultures strongly integrate the human figure throughout their carvings.

Inexact Repetition

It is important to understand that all of the patterns described on this page include repetition, but that in nature, what appears as exact repetition is actually composed of a myriad of small differences between similar objects. These differences are what keep the brain challenged.