Why a Consistent Body of Work?

In the art world there is often talk of the desirability and necessity of a “consistent body of work.” This simply means that the output of an individual artist, regardless of the medium, be recognizable as the work of that specific artist. Thus, an art patron could easily recognize this painting as the work of Piet Mondrian even if she had never seen this particular piece.

"Composition A" Piet Mondrian

Do you know what sculptor created this piece?

 "Recumbent Figure" Henry Moore

I, personally, had never seen this sculpture before, but I immediately recognized it as the work of Henry Moore, the famous English sculptor.

These two examples highlight what is meant by a consistent body of work. Their style, color schemes, shape, form, degree of abstractionism, and additional elements are consistent with other works in the artist’s oeuvre.

Most artists create a body of work around subject matters, methods, styles, and further criteria about which they feel passion. In doing so, they give themselves the opportunity of exploring and experimenting with those artistic factors that most inspire them. They also gain the additional benefit of gaining greater technical proficiency in their chosen media.

Often students, novices, or emerging artists try on a variety of artistic “hats” as they seek to find that which most speaks to them. However, after this beginning phase, the majority of artists (and almost all professional artists) settle in to creating a consistent body of work by which they are recognized.

But is this necessary? The preponderance of gallery owners would say “yes.” These gallerists spent a lot of time promoting the artists they represent and developing relationships with clients who are drawn to the work of individual artists. If the artist were to frequently change their style, the gallerist would have to repeat the process again and again at a cost of both time and money. Thus, most galleries see a consistent body of work as a necessary criterion to carrying the work of an individual artist. In fact, I’ve heard a few gallerists state that consistency and passion are even more important than creativity or skill in making sales.

While I fully believe in the concept of a consistent body of work, I personally find it hard to be constrained to any one style. As I began sculpting, I worked on small, table-top sculptures made of acid-stained cement with a rich textural surface such as “Burning Sun” and “Burnt Offering.”

   "Burning Sun" from "Artifacts from a Former World"

 "Burnt Offering" from "Artifacts from a Former World"

These two pieces and others I created definitely fit the criterion of a consistent body of work. However, as time passed, I wanted to explore other styles, such as figurative work. I considered my first works a separate series that I called “Artifacts from a Former World,” and began work on a second series (or, if you will, a second body of work), “Heads and Hands.”

 "Man with Hands by Face" from "Heads and Hands"

 "Bearded Man" from "Heads and Hands"

To date I have begun work on five different series of sculptures. Within each series of sculptures, the work is consistent and recognizable as being from that specific series. However, the series themselves vary from one to the other. Unlike most artists who move from one series to the next, I find that I still continue to work on all my series. I find interest and passion in each series and want to continue exploring the allure that each holds for me. Thus, I am still working on the “Artifacts from a Former World” series that I began over a decade ago. 

This may not be a path that is taken by most artists, and probably not advised by most gallerists. However, for me it seems to be a path that fits my own passions, creativity, and need for variety while still adhering to the definition of a “consistent body of work.”

 If you have any thoughts on the subject, I would love to hear from you.

In my next blog posting I will talk about a sixth series I have recently begun. This series, “It’s About Time,” is based not on the general consensus of what constitutes a body of work but is, instead, based on a unifying theme that overlies all of the sculptures within the series. The theme of time.

The Meaning of Art

"Silence" by Dan Woodard

I am often amazed and sometimes impressed by artists who can succinctly talk about why they create art and what their goals and intents are.  They can talk at length about what they had in mind when creating a particular piece, what message they wanted to convey, what they wanted the viewer to experience, or what their emotional or philosophical intent was.  For myself, I find that I usually begin the creative process as though my mind were a blank slate.  Naturally, I’m aware of what I am about to produce, but I’m generally not aware of what this piece means to me; let alone what it’s meaning will be.  Rather, I continue with the process, refining and defining the sculpture as I proceed.  Perhaps, the meaning comes to me during the course of creation.  However, usually it is only after I have completed a piece that I find personal meaning in it.  And sometimes it is only after I have finished several sculptures that I realize they are all representative of a single theme.  For me, the process is more intuitive than intellectual.  But by no means am I attributing a value of one way of working to another.  In fact, I admire and often envy those who have a definite message in mind when creating. 

Having created several bodies of both figurative and abstract work, I realize that my own work falls into two broad—and diametrically opposed—categories:  alienation and complete union.  I would have to say that the majority of my abstract pieces, such as “Golden Offering”, exhibit a sense of alienation.  My series, “Artifacts From a Former World,” to which this piece belongs, depicts the artifacts and ritualistic objects from an unknown and former world.  They represent the remnants of a society that has long since vanished.  About as alienated as one could get.

"Burnt Offering" by Dan Woodard

After completing several figurative pieces and standing back and looking at the series as a whole, I discovered that the majority of the men, such as “Silence” and “Anguished Man with a Broken Nose,” were on the alienation end of the spectrum.  While the women, “Ariadne’ and “Ester” for example, showed pregnant women.  The far end of the complete union category.  I further noticed that my males were generally titled with a description of their condition, while the women were given real names.  This is all incredibly interesting to me and has led me to explore the subconscious reasoning for my depictions of men versus women.  

"Ester" by Dan Woodard

So, on the one hand we have the intention of the artist and their message, whether it be conscious or subconscious.  But, on the other hand there is an equally powerful force, the perspective of the viewer.  And, since everyone’s perspective is different, the messages derived from a creative work are as varied as the number of viewers.  Each individual has their own sense of what a particular work of art “means” to them.  And each person adds their own background, personality, experiences, current mental state of mind and on, and on to arrive at this meaning.  And that’s good.  In fact, it’s one of the wonderful aspects of art...the viewer comes to her own relationship to the art sometimes totally independent of what the artist intended.  And all of the meanings or relationships that one has with a particular piece of art are valid—even if they are not what the artist intended.  Marcel Duchamp summed this view up when he said:  “The artist only has fifty percent of the responsibility.”

After hearing people’s reactions to my work I am often led to look at it in a new and different way.  And as a result of this process, I, myself, learn more about my art and about my subconscious creative impulses.  It’s an exciting and wonderful process.  A process that is very therapeutic and gives me a better understanding of myself.