STONE project.


STONE project is funded by: Arts and Humanities Council Logo.

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2 Context

Sculptors, as we noted, regularly check their work from different directions. Just as sculptors have learned to distrust the single view, they have also learned that apparent boundaries are rarely the real ones. Consequently there develops a tendency to see things within the next larger context.

A significant part of our project’s efforts has been to document traditional stone-craft skills. Such skills are part of a rich cultural repository that has accumulated over an extraordinarily long period of human history. We wanted to preserve attitudes and wisdom as well as any techniques that might be in danger of being lost. Throughout the entire process we were concerned that we might miss something that was important.  All the while we were doing so, we kept looking for wider margins. 

We interviewed quarry workers, stonemasons, artists and others. We were seeking to discover the most significant areas associated with working stone. We asked about beginnings, backgrounds, training, lineage, tools, techniques, processes, links, superstitions, dreams, contexts, positioning, stone moving, and the troublesome question of violence in carving.  These key areas will be threaded through discussions on Artists, Philosophy and Techniques.

 

Artisan Sergio Burati in workshop, Carrara, ItalySculptor Jean-Francois Demeure in his studio, Paris


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