In painting, tension is created by interaction of the images with the picture’s rectangular edges. For many years I couldn’t understand sculpture: what does one work with in the absence of edges? It was only when I saw Michelangelo’s sculptures in Capella Medici that I understood: the relationship is created between, say, shoulders and pelvis, or, in busts, between head and shoulders. I make a clay bust and then proceed to bend and twist its head until I find an interesting angle of the neck. Sometimes the neck cracks in the process and needs to be repaired or replaced. The resulting sculpture has a different expression from different sides. Viewers walk around the bust.
