"Jet Set Modernist" Pasinetti Residence by Haralamb Georgescu Architect. 1908-1976 (click Tittle to View) Page 3. Last House.

(Click Tittle To View) "The Pasinetti Residence"1958 by Haralamb Georgescu was restored by The Willow Glen Partners, http://www.willowglenpartners.com from 2007-08 and served as a Cataylist to The Getty Research Institute aquiring his Archives from his son Sculptor Christopher Georgesco.
Christopher was accompanied by Timothy Braseth from the Willow Glen Partners, Jeffery Head, Writer/Historian and Wim de Wit Head of Special Collections at The Getty Research Institute in 2008 to The Centenial Exibition of Haralambs Georgescu "A Romanian Architect in the U.S.A." at The Mincui University of Architrcture and Urbanismin in Bucharest, Romania where Haralamb Georgescu served as the primeier Architect for King Michael and Steel Industrialist Malaxa. A Museum of Art and Architecture is currantly under Construction in Buicharest Bearing Haralamb Georgesu´s name. Haralamb Georgescu and Horia Crienga are the most famous Modernist Architects from the Bauhaus period in their Home Country Today.

Michael Lord Gallery Palm Springs

Click Tittle to View avalable Works

Art Net / Michael Lord Gallery

Click Tittle to Link

Click Here to View http:// www.GeorgescoArt.com

Click Tittle >To view my Monumental Minimal Abstract Sculpture starting from 1968 in Venice Beach, California, to Present Day Studio in Palm Springs California.

This will be a direct contact to my Archives of 40 years and counting.

Thank's for visiting,

Christopher Georgesco

This Blog is here to get Feed Back On My Web Site and work. Please be so kind to leave your Message.

"100 Kunster - 100 Kracheln / 2009.

*Click Image Above to Enlarge & Read. *Click Back Button to Return to Blog

Georgesco piece 3 down on first row.
It has been a honor to be the only American represented in Germany for this Exhibition at the Zinkhutter Hof Museum of Art in Stolberg Germany. It was curated by Gabrille Prill to help children with respiratory problems by auctioning works donated to the cause. The government has recently stopped their programs for these children due to the currant economics of today. This exhibition was documented in a Catalog and is one of a series of 3 exhibitions, the last held at the Ludwig Forum Museum of Art in Aachen, Germany a year ago.

Local News for Desert Sculptor

Click Image to Enlarge and Read . Click Back Button to Return to Blog.

I was recently interviewed by this local newspaper in the desert two hours outside of Los Angeles at my studio in the outskirts of Palm Springs about a recent commission of four Sculptures for Royal Caribbean Cruise Lines in Norway. It is a good feeling to be part of the local small town news as well as International publications.

When I moved to the Desert in 1994 from Los Angeles the Art Scene out here was almost non-existing. Since 1994 in the Local town of Palm Desert near by has had Galleries sprouting up by the dozens and artists such as Ed Moses and Andrea Zittel have staked claims in the near by high desert of Joshua Tree.

All this goes to show where artist move as I did 15 years ago when there was almost no art scene heare in the desert, the Galleries and Boutiques are close to follow.

I saw this happen in Venice Beach where I had my first studio in 1968 and again witnest again on the Miracle Mile on Wilshire Blvd where I had my second studio for dirt cheap for 3 years when Ace Gallery moved into it's 30,000 square foot second floor in The Desmond's building causing my rent to go sky high.

I latter moved to my next L.A Studio in Downtown Los Angeles to witness the same thing, rents going sky high as developers built lofts, forcing me into South Central Los Angeles for a 6 years run before leaving for the Desert outside of Palm Springs, CA.

Again attracted to cheap real estate, thank God I purchased property and a home when the prices were still dirt cheap. Now again I am witness to the boom town Galleries, Restaurants and Boutiques.

The old tried and true applies again for the fourth time, when the artists find space on the outside fringes of the cities for cheap, their artistic Bohemian Style attracts the crowds to follow and the prices of real estate go through the ceiling.

What attracts the growth of undesirable areas due to artists is a bit of mystery, other than than the charm of creativity, but art is a mystery in itself so I guess the two go hand in hand. My only fear is for the children growing up today. When I moved to Venice as a kid rents were cheap. I guess the new generation will figure out a way to afford the world we have created and hopefully will be strong enough to exist in the slightly late era of James Orwell's vision.

Contemporary Artist and Architect United. Palm Springs Life Magazine, 3/2009.

1.) Click Images to Enlarge. Click Back Button to Return to Blog.
2.) Click Tittle to View Sculptors Web Site. Click Back Button to Return to Blog.

Artist have always moved to areas with space and low prices. As a child Contemporary Artist Sculptor Christopher Georgesco would accompany his father to Palm Springs where he did architectural work for Howard Lapham. Although Christopher Georgesco grew up on the West Side of Los Angeles and spent most of his summers at the beach he returned to the desert of the Cochealla Valley on the outskirts of Palm Springs. By the year 1995 the city of Los Angeles had reached Grid Lock and Studio Leases and Homes went sky high. The vast open desert landscape also had the same medative effect to the Sculptor as the ocean.

One weekend by chance in 1995 Christopher Georgesco and his Dutch wife Maria took a trip to get away for the weekend to Palm Springs. Being that his wife was Dutch and only knew how to ride a Bicycle, Los Angeles was not the ideal place to commute to work. The space and easy going pace of the desert had a great appeal. They were on there way to San Diego when Maria started reading a pamphlet on Real estate. She could not believe that new homes were in the $45,000 to $70,000 range on large 1/4 acre lots.They turned there car around and went to the first real estate office they saw. They put a down payment down on the first new home they saw in a remote part of town in the outskirts of Palm Springs where Sculptor Christopher Georgesco could grind steel for his work and not bother anyone.

This was a completely spontaneous act. A survival mode built into the Psyche of the Artist. Move where there is spaces and property are cheap. Now in 2009 Galleries are sprouting up everywhere and again the tried and true prevails. The Artist move to where space is ample and cheap and soon the Boutiques, Restaurants and Galleries will follow and cause the one quit villages to turn into Boom Towns.

Contemporary Artist Christopher Georgersco's Sculpture at Pasinetti House by Architect Haralamb Georgescu to Become Cultural Historaical Landmark

1.) Click Tittle to View Sculptors Web Site. Click Back Button To Return to Blog.

2.) Click Image to Enlarge. Click Babk Button to Return to Blog.

For the first time the father and son team of Haralamb Georgescu, Architect and his son Christopher Georgesco, Sculptor will appear together at the now Famous "Pasinetti Residence" on Summitridge in Beverly Hills. This Modern Mid Century Gem was saved by the Willow Glen Partners and the restoration with it's 21st Century updates was completed with the utmost consideration of the architect Haralamb Georgescu's vision of function and space.

Two sculptures "Triangulation" and "Camber Right" by the Architects son Christopher Georgesco were installed at the Residence formally designed and built for noted Italian writer Pierre Pasinetti by Haralamb Georgerscu in 1958.

The sculptures were installed in time for the upcoming photo shoot of the residence by noted photographer Julius Schulman in March of 2009. The house was the catalyst for a revival of Haralamb Georgescu's work 30 years after his passing. The Getty Research Institute became involved in the project and part of the architects archives were acquired by the Getty, the rest archives are now at the Mincu University in Bucharest, Romania.

By chance a exhibition of Haralamb Georgescu's work was planed last May 2008 for his Centennial Birthday, in his home country of Bucharest Romania by The Mincu University of Architecture and Urbanism. Georgescu was forced to flee Romania in 1947 at the height of his carrier due to pressure of the Communist Regime. The opening reception was attended by Wim de Wit, Head of Special Collections and Visual Resources / Curator of Architectural Collections at The Getty Research Institute, Tim Braseth from Willow Glen Partners, Jeffrey Head, writer and Historian and Christopher Georgesco the Architects Son. All spoke at the Symposium which followed the exhibition.



Today he is considered one Romania's most important Modernist Architects and many of his Landmark Buildings have survived 2 wars and are in existence today. A Museum in Bucharest is currently being erected in memory of the architect titled "The Haralamb Georgescu, Frank Loyd Wright Museum of Art and Architecture". Although Georgescu built dozens of buildings in America since 1947 he never received the recognition of his Mid Century Contemporaries. He is now getting affirmation after 30 years since his passing receiving the attention he has deserved. The Pasinetti residence is the first Haralamb Georgescu residence to be collaborated with his son Christopher Georgesco / Sculptor.

100 Kuenstler-100 Kacheln / Aachen, Germany

Click Title to View Video Of Exhibition. Click Back Button to Return to Blog.



100 Kunstler-100 Kachheln translated is 100 Artist-100Tiles. This Show was held at the Ludwig Forum Museum of Art in Aachen, Germany last year. Another show of this type will be held in another Museum in Aachen this year. The cover of the catalog above is of a piece by Christopher Georgesco/Contemporary Artist and Sculptor from U.S.A.

The Tiles from this Show were Auctioned to the highest bidder to help Children with Respiratory Problems. Funds to help these children were cut by the government. It is always a pleasure to use Art as a vehicle to help those less fortunate.

New Years In The Desert 2009

1.) Click image to Enlarge. Click Back Button to Return to Blog.
2.) Click Title to View Sculptors Web Site. Click Back Button to Return to Blog.



Christopher Georgesco Contemporary Sculptor and his wife were featured in the January 2009 issue of Desert Magazine. They were featured as the Fashionista's of the month. Maria has been working at Palm Springs Up Scale Boutique Trina Turk for the last 5 years and has had a big influence in styling the couple since they left Los Angeles 15 years ago.

Metal Sculpture / "Urns and Vessels"

After exhausting my possibilities of more concrete work, I turned to the next medium that my studio was set up to handle. I had a welding table from building the skeletons of steel for my concrete and steel columns and Tripods. I had the welding equipment and grinders ready to put to work. The next move would be to create sculptures from sheet metal. These pieces gave me new possibilities in creating forms with finer features than concrete. Concrete does not lend itself to tight angles and thin dimensions that are possible to achieve in in steel. I chose the color Black for this series as it was closest to the natural; color of hot rolled steel. I had always used the natural color of the materials for my color palette. Steel being prone to rusting , I decided to go with semi gloss black enamel paint to match the original color of the steel as close as possible.

I began to expand on my Vocabulary of shapes as the material opened new possibilities. It was exciting to start building Volumes again unlike the the pieces from my past series which was all planer. One of the most interesting forms that I invented was a Circular form with waving edges. The concept grew from looking at my hands slightly open, but clasped together. Another way to describe it would be to take two curved round potato chips put together with their curves inward and touching in opposed directions. I had never seen such a form and believe it is elementary to Geometry and is as significant a shape as any square,sphere etc. This form is in the foreground of the picture above.

Because of the shapes and volumes of this series I decided to call it "Urns & Vessels", for the obvious reasons of their anthropomorphic and utilitarian shapes as abstract as they are. The Black also gave the somber but tough feeling of a Urn, and the the soaring motion lent itself to the likeness of a vessel. The show embodied abstract versions of the male and female figure along with more geometric subjects. Another shape created was my own version of a Obelisk, a for sided form with opposing wedges, 2 sides up and 2 sides facing down. These possibilities were a real change, and the possibilities of sleeker forms were now possible in steel. The show which was at Newspace Gallery in 1999 was a commercial success, however the reviews were not as favorable. How much credence can you give the opinion of the critic when the public puts out spontaneous support and enthusiasm? This question can open up a whole new topic of discussion.

Concrete and Stainless Steel Sculptures

After taking several years off from making art I had moved into the Art Deco, "Desmond's" Building in the Mid Wilshire Area of Los Angeles Where I began doing sculpture studies for a new updated series of Concrete and Stainless Steel Columns. These New Contemporary Art pieces would be started in a smaller scale in expanded cement and aluminium and were exhibited at Hoffman Borman Gallery in Santa Monica along with Richard Sera in 1988. The lease on the "Desmond's" Studio had doubled around 1989 when Ace Gallery leased the whole 30,000 square feet of the 2nd floor of this building for their new Modern Art Gallery. Due to this improvement in the building, when my 3 year lease was up it had doubled forcing me to move farther East to Downtown Los Angeles on Olympic and Slauson. The ceilings in this new studio were 20 feet plus so I began doing very large "Concrete and Stainless Steel" on Steel Tubular columns, some without the tubular columns, from 8 ft. to 16 feet high. These pieces were fairly ambitious as few Galleries had ceilings tall enough to house such tall works.

This series was a vast improvement over my first "Concrete Columns" from the 70's. The construction was of a completely new engineered system. Instead of the columns being conceived in a X pattern from the top view with four opposing faceted sides, I looked at the X top view as where stainless Steel rails would be welded in place to steel re-bars in opposing faceted sides. This time the metal skeleton would become the structure for the wooden molds to be clamped to the stainless rails creating a column that was more durable, had protected edges and was more streamlined than its preciser from the 70's. It was also the opening of a new additions to my Vocabulary as the shapes on each side of the sculpture was created by connecting the opposing edges of 2 facets from all 4 points. In a way you could say I took facets and had simply gone to 3/4 view on each side compared to their block like predecessors.

This series took more than 3 years to complete and during this time I found that my rent was bleeding me dry. I decided to move to a equally large space for half the money in a all Black neighborhood known as South Central. It was funny when I would walk to the corner Liquor Store for cigarettes I would often be stopped by the police , who would ask if I was lost, being one of the few White people in the neighborhood.

After completing around 8 fairly monumental "Concrete and Stainless Steel Columns" I was picked up by The Jan Turner Gallery and had my first One Man show again in quite a few years. I had gotten myself in several group shows along the way but Jan Turner was the next dealer to give me a shot at a Solo Show again in 1990 on Robertson Boulevard in West Hollywood, California. My name had kind of dried up after leaving the Art Scene for 5 years but I was to fight on, the Art Scene had grown so much during these years that it was almost like starting over.
I remained in South Central for around 6 years and during this time I returned to Newspace Gallery after Jan Turner retired.
I had met a beautiful Dutch girl during this time and got married. The only problem being she did not drive a car and worked for a fashion designer in Venice. She would have to walk through the streets of South Central every morning to get the Bus to go to her job in Venice. One day some Black Girls started throwing rocks at her from off the train tracks. This was a sign that it was time to move again.
We had gotten in the habit of taking weekend trips once or twice a month and one of these trips we went to Palm Springs. I was no stranger to this town as my father was a Architect and had worked their in the 50's and 60's. We were on our way to San Diego from Palm Springs and my wife had picked up a Real Estate Brochure. She began reading off large properties with new homes for $50,000, $60,000 and even $40,000. We had looked at possible studios to buy in Long Beach, San Pedro and even Boyle Heights, but these places were at least $185,000 in a bad neighborhood. Needless to say I turned the car around and we checked into the Hotel 6 in Palm Springs. The next morning we went to the first Real Estate office we could find. I told the Realtor I was a sculptor and needed a place that was remote enough to not bother neighbors with the grinding I did when working on my sulptures. He showed us a beautiful New Home with Tile Roof on 1/4 acre for $59,000 in a area known as "B Bar H Ranch". The place was perfect and I could not talk my wife into looking at anymore homes, so purchased the house on the spot and moved to the out skirts of Palm Springs, in 1995. Needless to say the old tried and true reoccurred and after some time the artist started showing up in the neighboring communities such as Ed Moses and Zittel with her "High Desert Test Site". Just goes to show that where the artist go to find cheap rent, always ends up drawing more artist and eventually the prices go up and the ones left out must search out new areas. Unfortunately at this time in 2008 most areas have been developed and I feel sorry for the young artist to come, as real estate and studio's are now so expensive that I am wondering how the next generation will survive. Anyway this is how I ended up in the desert and find L.A. to be night mare after spening almost 45 years there. The overpopulation, high rents and grid lock, is such a contrast to where I am now. I don't regret moving to the desert for a minute.

Stainless Steel Metal Sculpture

Of all the materials that can be used to build Modern Contemporary Sculpture, Stainless Steel is one of the most enduring. It can take all temperatures and climates and end up looking the same for eternity. However as beautiful and enduring the material is it is one of the hardest to work with. It is such a hard material that without a Plasma cutter and special grinding wheels it is almost impossible to work with. David Smith used it in his "Cubi" series with much success in his approach, using a industrial shear to cut it and leaving his weld bare or not grinding them to a finished corner. This was a great way to get around working with such a hard material. Stainless steel is nothing more than regular steel with nickel added. The more nickel added the higher the grade of stainless you are dealing with.

I chose to use stainless steel in my "Split Plane" series. It had all the features I was looking for. For me the answer to all my sculptural questions is "Light". Stainless steel definitely embodied the reflective qualities of light, even when sandblasted as the "Split Plane Series was. If any one knows the where abouts of the stainless piece in the photograph above please contact Christopher Georgesco at georgesco1@yahoo.com as the piece went missing sometime in the early 80's.
This "Split Plane" series lasted for 3 years 1981-1984 and was another departure from using volumes as in my early wood and and concrete sculptures, however in many ways it was a extension of the "Mixed Metals" series. These Stainless Steel pieces are among my favorite planer works.
After this series I lost the lease on my Venice Studio. By that time Venice had become overpopulated and very expensive. I was at a New Years Eve Party at one of my first Art Collector's, and a beautiful woman with Red Henna Hair in a Gold La-may Dress walked in the room. I was struck by how much she looked like the copper and bronze sculptures I had worked on a few years earlier. Little did I know that this woman was the owner of a successful Natural Skin Care Corporation and 2 weeks later I found myself in Paris at the Ritz Hotel wearing Armani suits and bearing the card of Art Director. For the next 5 years I would travel extensively through France, Italy Switzerland, Germany, Holland, Indonesia, Australia, Singapore, Bali, Puerto Rico, Mexico, New Orleans, Atlanta, Chicago and of course New York. As much as I missed making Art this was a great opportunity to see all the Art I had studied in Art History, and a great way to familiarize myself with the world. Five years later I returned to making Sculpture again. As with all good things, times change and you must change with them. I dumped the house I owned on Beverly Glen in Bel Air, California and picked up a new studio in the Wilshire District of L.A. in a Old Art Deco High Rise named the "Desmond's Tower". The old tried and true took place again after securing the entire 8th floor, 3 years later , Ace Gallery Leased the entire 30,000 square foot 2nd floor and when my initial lease ended the the owner doubled my lease and I was now off to Downtown L.A. the next place to become a hot spot for Art. To View More Images Click> www.georgescoart.com

Mixed Metal Sculpture

Around 1980 I began working on a new Series tittled "Mixed Metals." The Series was a experiment in working with Planes, rather than Volumes as I had in the past. I also began using different metals for their color properties to contrast to one another. The photograph in this section is one of the first Split Plane pieces I did in "Mixed Metals", it was 9 feet tall and approx. 1,000 pounds.

At this time I was very much into exploring the possibilities of using natural materials for color as I had in the past, but now I was traveling in a new direction. Switching from Volumes to Planes and using different metals as one would use paint for colors. This piece shown was made of Cor 10 steel (a steel which oxidizes and heals over to become weather resistant) and Galvanized Steel also known as Zinc plating. I investigated many combinations of metals. Copper, Bronze, Nickel, Cor10 Steel and Stainless Steel, all for their contrasts in color. Not only was I working with a new concept, changing my sculpture from volumes to planes, but I began adding new shapes to my Vocabulary.

I would sometimes work in series of 3, by cutting the same shapes out of 3 identical size pieces of different metals, such as nickel, copper and bronze.. The pieces would later be switched around in a mixed combination of the 3 metals, making each pieces the same configuration, but the color combinations of each pieces different. The result would be 3 similar sculptures with 3 different color combinations.

For me when one idea is explored and worked out to a point of redundancy its time to move on. Maybe using a new concept, but always using the same Vocabulary of shapes. As with a Language your vocabulary will grow the more you explore the possibilities of your Language. Sometimes taking a walk in the Park can give you a renewed vision of your work. (click the tittle Mixed Metals to view more examples of this series) or Click > http://www.georgescoart.com/

Concrete Sculpture

The next phase from Georgesco's Wood Sculptures was to use one of his Wood Floor Pieces from 1973 and stand it upright on a 12' x 12' x 3' thick piece of Steel Plate with holes drilled into it to accommodate steel re-bars, which were latter welded in place. The wood floor piece had become the first mold for what was to be Georgesco's first Concrete Column. The wooden floor piece which was now standing vertical on the steel plate was siliconed in place to prevent the now to be mold from leaking. The steel re-bars were carefully fitted inside the now first half of the wooden mold. After the the re-bar was fitted a second half of the mold was constructed from 3/4" inch plywood and fitted and silconed in place, the mold was held together with bar clamps.

The ceilings in Georgesco's Venice, California Studio were 10' tall so the pieces which stood 119" tall were set under a recessed skylight to allow room for the concrete to be poured into the top of the mold. The finished Columns were only 1" shy of touching the ceilings when completed. A custom formula of concrete was prepared with pea gravel to accommodate the tight fitting tolerances between the re-bar and the mold. A minimum of 1.5" of concrete is the minimum tolerance for reinforced concrete. Of course Acrylic additives were used with the Portland Cement Formula for added strength an flexibility. Latter pieces used Formica which was laminated to the concrete molds to produce a glass like finish similar to marble and vibrated with a special concrete vibrator to eliminate any air pockets.

This was beginning of a new series of sculptures in concrete which evolved from their first relatives "The Wooden Floor Piece Series". This is how a artist can become prolific in his work. The artist must simply allow the work to speak and with a Vocabulary of Shapes in place the works begin to evolve on a journey of their own. This Series of Concrete Columns and Tripods was the catalyst to catapult Georgesco into the Top Collections in Los Angeles and New York. The first exhibition of these Modern Contemporary Sculptures was at Newspace Gallery, in Los Angeles 1976. The exhibition was deemed as a overnight success in 1976, and in 1977 William Wilson, critic from the Los Angeles Times wrote, " Georgesco's work looks so solved, almost smugly knowledgeable about its own ability to push the Art Worlds Masterpiece button." These works as similar to their counter part the "Wooden Floor Pieces Series" standing vertically on end is a great example of how a vocabulary can evolve without being starched into its own formula.

Wood Sculpture

Wood Sculpture was a natural progression from painting for artist Christopher Georgesco. The materials used for his painting stretcher bars in 1968 were recycled into a series of sculpture studies tittled "Balance Beams" in 1969. These were the first Modern Contemporary Sculptures the artist created. The next move were a group of pieces tittled "Wood and Canvas Series" 1970-1971 and were also recycled from materials used in his painting for stretcher bars. This series used the tension of the canvas stretched on wood jigs through vertical placed wood dowels to hold the works together. The next series of wood sculptures Georgesco did were made from larger dimensions of the same square lengths of wood, this time expanded from 2" x 2" to 4' x 4'. They were to be his first investigation of divisions of a rectangle, a kindred relative of the square, in 1973-1974. These 4' x 4" x 10' pieces of Douglas Fir were divided and split in various configurations which would become the core of the artist Vocabulary and were simply places on the floor. This was the beginning of the first body of work that was commercially recognized and were exhibited at Jack Glen Gallery in Corona Del Mar in 1973. One of these wood floor pieces would serve as part of the first mold for the next series of sculptures that would graduate into reinforced concrete sculptures from 1975-1978. The humble material wood once hidden behind the stretched canvas of this artists early paintings eventually became the beginning of sculptures that would step by step metamorphosis's into 10" Concrete and Steel columns and Tripods that would catapult the artist into the public eye. This is a excellent example how the artist evolves a natural progression, almost as if by magic.

When Enough is Enough in Modern Contemporary Sculpture.

In a Artists quest for growth, he must decide when he has expired a idea or path of conception in Modern Contemporary Sculpture. Some Artist never veer from their original concept and do ever so slight variations on the same concept for their whole carriers. This sometimes may make sense in such mature works of Pollock or Mondrian. But as a whole most artist stick to one idea or a single concept throughout their carriers in a struggle for recognition. The plan being if I do the same style and materials for so many years than this will become a recognizable venture into a identity, thus crating a recognizable object. Such artists as John M Miller (who happens to be a painter) has practiced this formula for creating a recognizable object. His patterns of diagonal lines shifted ever so slightly in color or placement on the raw canvas becomes a search for the subtle. Maybe in fact this is a way to to become recognized for a style. Some sculptors such as Richard Sera a Leader in Modern Contemporary Sculpture has worked with extremely large plates of steel for decades. His work changes in subtle and not so subtle ways. One piece may be vertical another horizontal and yet another curved and horizontal etc. In the hands of a true Modern Contemporary Sculptor, the serial approach can be overwhelmingly insightful even when the core concept remains the same.

Architecture / A Natural Progression to Modern Contemporary Sculpture.

The Natural Progression of Modern Architecture would be Modern Contemporary Sculpture. The visual elements of Modern Architecture are composed and refined into a finished composition. The only difference between Modern Architecture and Modern Contemporary Sculpture is that Modern Architecture has a function. Some of the same problems exist in Modern Contemporary Sculpture as Architecture. Things such as Foundations, Cantilevered Elements, Balance of Composition etc. The freedom of Modern Contemporary Sculpture far out weights the freedom of Modern Architecture. As much as the Architect tries to express his ideas he is always bound to the needs and wishes of his Client. With few exemptions this rule holds true. One Architect who was inspired by the Artist in Venice Beach, Calif. is Frank Gehry. His work is of a sculptural quality and goes beyond the box of the Minimalist. In this way he has found freedom in Architecture in his expression. But as free as his structures may seem, their core element is the spaces designated within the sculptural facade by the owner (Thee Same old Box like Space). The freedom expressed is a sculptural facade concealing the in workings of its interior function. This does not make his work any less interesting, but is a demonstration of how such a radical statement in architecture still falls victim to the same problems of functionality. Even with the most Sculptural Modern Architecture the element of function still exists. This gives Modern Contemporary Sculpture a leg up in freedom of expression, as the sculptures only function is that of a visual expression. No rules , No box. (click the title to view the progression of a Modern Contemporary Sculpture, mentored by Modern Architecture.)

Pushing the Limits of Sculptural Materials.

Often in Modern Contemporary Sculpture one of the directions a sculptor may take is to push limits of his materials. Steel has many possibilities for such experimentation. In the "Leaves Series" by Christopher Georgesco, this is the parameter of the concept. Besides using light steel dowels to support his Double Reversed Arcs. This gives the work the airy feeling of flight, as the pieces seem to be barley supported by their skeleton supporting these Reversed Arcs. The airy quality of these pieces is accentuated by the fact that the pieces gracefully set down on 3 fine points adding to the feeling of lift off. Sometimes described as feathers these airy "Leave" sculptures are a test in ones ability to make a perceived heavy materials like steel soar. (click tittle to view examples.)