Implied Energy and Movement in Sculpture

Implied energy and movement were also part of the research discourse for The Gyroid Head, and specifically how 'space' could be freshly defined within the reading of sculptural form. The reading of implied movement in sculpture has been a longstanding issue for scholarly interpretaIon of sculpture, whether one is contemplaIng a Bernini, Rodin or Deacon, etc.

DAVID. 1623, Bernini. THE KISS. 1904, Rodin. LAOCOON. 1996, Deacon.

DAVID. 1623, Bernini. THE KISS. 1904, Rodin. LAOCOON. 1996, Deacon.

Early findings of this process is a sculpture, The Gyroid Head, that explores notions of geometry and movement within the context of the human head. It extends our knowledge of how Arts and Sciences can work in partnership, breaking down barriers and enabling creative synergies that exist within knowledge fields, usually the sole domain of specific Departments of LU. In addition, this process references historical examples of how artists have been fascinated by the Sciences, and how the Sciences can be reinterpreted through collaborative practices. An example being the “Intersections: Henry Moore and Stringed Surfaces, Science Museum exhibition in London, March to May 2012.

During the 1930’s, Moore visited the Science Museum in London on several occasions. He was influenced by the mathematical string models, which are still on display at the Science Museum today. Surrealists, such as Man Ray were also influenced by mathematical objects, which often recalled the human figure. Importantly, they could be viewed from all sides and no two sides were alike.

The concept of movement is also explored by the IDT and specifically Shaw and Price, using the MoIon Capture suite in the Design School and collaborating with athletes on carefully choreographed movements intrinsic to specific athletic field events. The discuss, shot and hammer have been analysed through MOCAP into 3D CAD software, which has produced a range of interesting ways of interpreIng movement, and particularly human explosive power.

From the outset of this project, I was interested in how aspects of this project could link the historical legacy of Loughborough University Sports Sciences with London 2012. The success of this multi-discourse approach to research means that high profile sportsmen/women associated with LU can also be 'scanned' and their 'heads' presented as part of a series of tributes to LU’s association with sporting prowess, defined via the collusion of Arts & Science collaboration. Suggestions were Lord Coe, Sir Clive Woodward, Bob Wilson, Steve Backley, etc. This aim was part of the original submission; it was important to maintain a focus on this aspect of linking LU Sports Sciences to a global culture, via London 2012.