Jacques Beck

Statement

A stone sculptor for more than twenty years after a long intro via wood cutting, I first attended Bridges math-art in Pécs introducing my concept of multisculpture, which shows common ground with Nat Friedman's hyperseeing. Emphasizing geometry and rational mechanics content, I could present and manipulate in the Art Exhibition a typical multisculpture. In Coimbra, with another multisculpture and two classic works I illustrated my talk on the phenomenological aspects of traditional manual stone carving using its basic tools, point chisel and mallet as a leap to the technological future. Absent in the Towson exhibit, concentrating my talk on the 3D printing of an enlarged copy in stone-like material of a little marble sculpture shown in Coimbra, I'm back here, having returned to my earlier passion with a piece of Lilac wood; I loved to be able to respect its natural mathematical torsion in a semantic multisculpture. I am also here as prime author of a paper on 3D Triskeles .

Artworks

This sculpture in line with my commitment to curves and mainly to spirals in volume, functions almost as a symbiosis of thought between the material and the sculptor. Where the wood in its lifetime was the mathematician (without knowing it) the sculptor has simply diverted the helicoidal meaning with the purpose of adding material to dream. What he could spot is a proud wading bird pointing his beak at the zenith or else perhaps a stylish snob inflated by the sense of his own importance or the same again, but this time emerging from his cloak in a monumental gesture. The multisculpture character of this work therefore lies in the diverse possible semantics of its shape rather than in the multiple positions of its geometry. With its sensors the plant tends to resist such aggressions by nature as wind and storm, shadow and light, always striving to straighten up to recover a relative verticality. This concern for geotropism is at the origin of this helix the sculptor had to respect.