Movement from a place to its opposite and back again creates a circular space in a sculptural situation (sculptuation). Often, but not always, the movement starts by looking at a two-dimensional rendering to find an element in the rendering is the same element and in a similar position as in the three-dimensional space one stands to look at the rendering. It is a connection between opposites that are also the same. The connection circumscribes an actual space as an aesthetic space.
Whether the actual situation is a replica of the two-dimensional rendering or the rendering a replica of the actual situation alters from one spacial circle to another in a sculptuation, which can consist of a number of loops. The quantity, range, frequency and speed of looping spaces within a sculptuation ultimately defines the materiality of the circular space these create. The materiality of a circular space can be thick and dense, or nebulous and light. Movement, within it, can meander, frolic or sprint. It depends. All, though, are in constant movement, never static, since recognition of an element is by an unending shift through its opposite. While there may be many loops within a sculptuation, they all unify within a self-determining circular space that delineates the work.
And, finally, no matter the objects that constitute a sculptuation to build its connections, the subject is neither the viewer (relative), the artist (creationist) or topic that reduces the artwork to a medium through which an artist speaks. These are all worthy within their own habitats, but not a sculptuation. The subject is, instead, the nature of the work’s self-determination. In this—as art—it is not unlike our own quest and the persistent struggle it involves.
If tealeaves are left at the bottom of a sculptuation’s cup, I can only hope they therefor bespeak of investigative truth and courage.