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Professor’s name

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Artwork

Artist

The provocateur Daniel J. Martinez shall be my central to my research. Born in 1957,

he was brought up and schooled in LA, where he received his Bachelor of Fine Arts many

years back from CalArts. He is a multimedia artist best known for his infamous craving to

produce works full of evil humour. Daniel is a photographer and a major in animatronic

sculptures. He is not very famous in LA currently because of the rapidly changing world, but

his works are indisputably great, rising to the ranks in 1994, a year after his famous work

with the inscription “I’d never wish to be white”. It made him receive a world of resent,

something he seems to enjoy doing every day. He has won so many awards and his works are

found in many museums in California and Texas. (Metro, LA).

Art description

Daniel’s work falls under photography and animatronic sculptures. The latter is a

relatively new field, since many people have not heard about it before. With the most recent

developments, it is getting coined with science to be produce results. The field of robots use it

too, because everyone loves 3 D presentations which appear to be real than the often 2D on

print paper. (Mongeon 2015). More people ae drawn to the works, when the see a

resemblance of a robot somewhere.

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Sculpture as fine art, is one of the oldest forms still existent. As time changes, and

technology advances and modifies almost every way we do our things, the art also changes

on how it is worked out. In the past, we have huge indelible commemorations of how the art

of sculptures was used to furnish classical antiquity. (Kirchberg & Martin 2015). We have

very old statures erected in halls of fame and even public places in remembrance of the lives

lived by the heroes and heroines. Renaissance art and religious art too made use sculptures as

fine art, more than a thousand years ago. Sculpture is made of the mass and space elements

chiefly, surface element being a variant. The objects are then moulded in proportion, scale,

balance, thorough articulation and a sense of harmony. Sculpture is the only form of fine art

which can be worked in 3D.

An Interview with Daniel (data collection).

Jayson Borne: yes, Mr Daniel, how are you?

Daniel Martinez: all is fine, how about you…

JB: good. I have come learn more about your artwork. What is it basically?

DM: I do animatronic sculptures with photography. The photos that I gather, I develop an

interest to produce them in 3D, sometimes in an exaggerated manner but very interesting.

JB: when did you start doing the fine art?

DM: mmmh, I started back in 1975, in a very small scale. From there on, I have been

improving this piece of work, and now I can say I’m somewhere.

JB: what pushes you into this art industry?

DM: when I was in CalArts taking my degree in fine arts, I often could attend theatres full of

absurd, cruel, sometimes panic settings. I could read the acted pain and shock and disturbance

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they could create on people. It is when I opted to try it out, to tease around with people’s

mind through the pieces.

JB: what challenges did you meet as you set foot to your area of interest?

DM: First, I lacked good mentors. I would say I created myself in this field. It took too long

to make fine of the art in mine, almost to the point of giving up, but I’m glad I didn’t.

JB: how often to do practise it?

DM: daily. I have learned to develop an inseparable growing towards the art. It is a good

stuff.

JB: what can you advise someone who wants to be like you?

DM: it takes more than practice and hard work to be at the top. Creativity is perhaps the

greatest tool that will shape you to be the person you want, keep trying stuff, all day long,

continually.

Usage of the art

Sculpture, broadly, is for conservation purposes. Tracking the history of many

countries, especially the Greece, Rome, and middle East and Oriental countries, their

sculptures have been used immensely to store the very rich tradition and history dating back

as old as 2000 years. Even the works of today, are engraved by the use of the sculptures to

store societal heritage. In many cities, there are in the museums and public parks erected

statues which are meant to remind the public of the far those countries have made. (Fernie

2016). For religious sculptures, they are used for commemorating the goodness of the long

dead influential people who ever lived.

Human activists and freedom fighters have been recorded many times across the

globe erecting the sculptures to send their signal to the target group. Much is communicated

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through these figures to the subconscious for an action to take place. There are many artists

who develop the forms of final art sculptures just for fun and to entertain viewers.

Comparisons

Sculpture in Africa from history was done using wood and soapstone. These materials

last for a short period, all that we have is a miniature of the whole picture. The areas best

known for the art work include Yorubaland in Nigeria- its works as old as dating 500AD are

available together with the Mande speakers, we have Sudan’s Kush region whose works are

more than 1500 years, and the South African soapstone works in Zimbabwe and South

Africa. The works illustrate attire, weapons, and the lifestyle of the Ancient Africans.

(Grandis 2015).

The oriental sculpture of China is one of the oldest in the history of time, and

increasingly becoming the finest, the most loved and most original. The works illustrate

Chinese religion, culture and lifestyle. The contemporary sculpture is catching up with the

ancient culture in authenticity through the efforts of the government, for posterity. (Lane

2016).

An African target group

Africa is a land full of art work of all manner. Some groups or communities are

known globally like the Yoruba, groups from Sudan and Egypt ad South Africa. There is

another thorough group found in the East Africa region called the Makonde group from

Tanzania. They are known in their excellence of carving masks, any household objects,

animals, human figure and others. Tourists who get a chance to visit East Africa easily access

their works in museums. The key styles directing the manner of carvings include the shetani

style (devil) which is an encapsulation of how the evil spirits could interact with people, the

mawingu and mandandosa styles. (Tervala 2016).

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Conclusion

Art is the echo of human life, filming lifestyles of all-time coverage in just a simple

representation. Ranging from music, to photography, calligraphy to dancing, painting,

sculptures, art works are everywhere, in any society, of any timespan with motives of

communicating key information designed for. From time to time, the technologies for

producing these art works keep changing; and we expect many rapid changes in the near

future with the advent of computers which really jerk the standards to a very high level,

ensuring work is done, in a professional, consistent and complex way. The challenges we will

continue to face is the challenge of archiving every detail with precision. From the historical

evidences of the arts produced, there are so many gaps, whose is the wearing out of the

artefacts made by materials that cannot stand forces of nature for long.

References

Fernie, Deanna. Hawthorne, Sculpture, and the Question of American Art. Routledge, 2016.

Grandis, Ben. "High-Tech Museum Exhibits in the Twenty-First Century: An Evolution of

Education and Entertainment." (2015).

https://www.metro.net/about/art/artists/martinez/ Viewed 14

May 2018

Kirchberg, Volker, and Martin Tröndle. "The museum experience: Mapping the experience

of fine art." Curator: The Museum Journal 58.2 (2015): 169-193.

Lane, Tom. "Art after ‘Primitivism’: Revisiting the ‘Non’of the ‘Contemporary/Non-

Western’Dichotomy." Unquiet Pasts: Risk Society, Lived Cultural Heritage, Re-d

designing Reflexivity (2016).

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Mongeon, Bridgette. 3D Technology in Fine Art and Craft: Exploring 3D Printing, Scanning,

Sculpting and Milling. CRC Press, 2015.

Tervala, Kevin. "Shangaa: Art of Tanzania ed. by Gary Van Wyk." African Arts 49.2 (2016):

91-92.

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