Sculpture

To get a sense of figure in context, sculpture seems to be a good place to start. The shadows cast by a three-dimensional form automatically suggest an environment around the figure, as well as indicating scale which can be used to create a sense of ambiguity or to manipulate our perception as the viewer. I need to make some sculptural 'props' to help construct my images, and use perceptual manipulation of scale, juxtaposition and think about involving figure, object and environment to move my work forwards.

Ron Mueck
http://www.hauserwirth.com/exhibitions/1306/ron-mueck/view/
http://www.boredpanda.com/13-hyper-realistic-sculptures-by-ron-mueck/
The fantastic thing about Mueck's sculptures is that photographed out of context, you have no idea of their real scale. I like that you imagine the figures in terms of your experience but your preconceptions are challenged when you change your viewpoint.

Antony Gormley
I find Gormley's work appealing because of the way it is embedded in an environment or context and seems to respond through the sculptural materials. The figures are often slightly masked or obscured and seem to be searching, although we are unsure of what for. There is also an element of participation from the audience, whether this is actively, or through their encounter with the three-dimensional work where they move around and between the sculptures.

 

 

Maurizio Cattelan

I love the playful quality of Cattelan's sculptures. I love that they are installed in the space and seem to emerge from the fabric of a building. He integrates humour with irony and global themes like death and power to create curious sculptural installations. 

'The Trussardi Foundation describes his work as something between "childlike curiosity and sophomoric rebellion", and there is a lot about his awkward personal presentation to support this. Eventually, over coffee, he says: "My aim is to be as open and as incomprehensible as possible. There has to be a perfect balance between open and shut." He admits that the location of his work is crucial. "You need a situation where the work and the place short-circuit."'

http://www.guardian.co.uk/artanddesign/2004/jun/23/art