Composition Vs. Design
From Simon Kogan
Composition is primordial truth —-> Design is cunning deceit
Composition is often mistaken for design —-> Designing is to choose and appoint
Composing is conceiving and creating —-> Designing is calculating and regulating
Composing is a carnal, visceral, guttural, unruly process that is scarcely teachable —-> Design is planned, logical, ruled and teachable
Composition in Latin is “componere”—- to put together. Composing sculpture is traditionally defined as expressing your personal inner experiences through the language of volume. Volume is a three-dimensional, circumcised body of measurable weight. This means you can actually see and tell what it is. In addition, there is a ‘negative’ volume that is a hole, an opening, or a void. Negative volumes are just as important and visible as real volumes are. We do not want to underestimate their presence. Ultimately, there is a perceived volume, created by the the entire sculpture. This is the impact of the whole sculpture where the space is occupied. This creates this specific effect.
“Composition is in the incarnation of the breath of life. It is what you feel before understanding...”
Transforming a sculpture from a material volume into a perceived sensation is the marvel of composing. This is where things happen. Think about dealing with clay or stone or any medium you are dealing with. They are essentially a mass first. Then, it takes a strange form and becomes emotional, in the best-case scenario, to any viewer. That is, to Simon, the epidemy of sculpting. The art of sculpting is making this volume speak. For Simon, composition is not a story, but an emotional statement. Composition is in the incarnation of the breath of life. It is what you feel before understanding, and to achieve this, it does not have to be a complex group of many figures. The hardest is to make it out of one figure, and simple can be harder. There are plenty of examples of both, Michelangelo’s pietas and slaves for example. In fact, Michelangelo was one of the very first sculptors who brings the human and emotion and drama to the history of artwork and sculpting.
Below is an example of a two figure composition. Having a two-figure or multi-figure composition does not always guarantee a composition. Yes, it’s a well- designed sculpture. But, to Simon, it is not a successful composition. It is still beautiful, but it does no turn Simon as deep as the next one by Michelangelo:
The one below has a very different impact. It is a three- figure composition, but not just that. They say Michelangelo sculpted this piece when his friend passed away. It is a devastating drama that oozes out of this sculpture. It’s not about all the technical parts of it, and many say it is unfinished, but Simon says it is done in the way it was supposed to be. It delivers what he meant to deliver, and that’s why he walked away from the rest of it. It’s a piece of grief, about grief, and grief itself:
Key Takeaways:
Composition and design are different, with composition being a transcendent and visceral process, while design is planned and logical.
Composition in sculpture is the expression of personal inner experience through the language of volume, encompassing both positive and negative space.
The perceived volume of a sculpture has a significant impact on the viewer.
Composing sculpture is an emotional statement rather than a story.
Emotionally resonant sculptures, like Michelangelo's Pietas and slaves, evoke deep emotions and convey grief, despite technical imperfections.
Well-designed sculptures may be aesthetically pleasing and technically flawless, but they can often lack the emotional depth and impact of powerful compositions.
Under Simon Kogan’s guidance, you'll delve into the intricacies of sculpting, learning techniques that breathe life into your creations. With a focus on hands-on experience and personalized instruction, his teachings promise to unlock your creativity and hone your sculpting skills:
Also, be sure to check out “The Book” by Simon Kogan where he includes 55 photographs of sculptures with his commentaries on the work and the process: