Answer:
He used various chisels to shape the figure.
Explanation:
I'm not 100% sure this is true but I remember reading about his works and how most sculptors created their works. I do know sculptors (especially back then) used chisels to shape the figure's body and other areas. So I do believe the first one is the answer you are looking for.
Sorry if anything is wrong, but let me know how it goes if you didn't already answer :)
Answer:
I would think of the old like cave paintings of the stick people and animals.
Explanation:
I am not too sure whether there were some options, but there is something I have heard about: giving classes or teaching.
Very often when you read about the lives of the musicians, you hear them teaching the rich and often being flustrated at having to do it; since the rich are not onlways talented. But they need to do it to close their budget.
Manga Ormolu enters the dialogue on contemporary culture, technology, and globalization through a fabricated relationship between ceramic tradition (using the form of Chinese Ming dynasty vessels) and techno-Pop Art. The futuristic update of the Ming vessels in this series recalls 18th century French gilded ormolu, where historic Chinese vessels were transformed into curiosity pieces for aristocrats. But here, robotic prosthetics inspired by anime (Japanese animation) and manga (the beloved comics and picture novels of Japan) subvert elitism with the accessibility of popular culture.
Working with Asian cultural elements highlights the evolving Western experience of the “Orient.” This narrative is personal: the hybridization of cultures mirrors my identity as an ethnically-mixed Asian Canadian. My family history is one of successive generations shedding the markers of ethnic identity in order to succeed in an adopted country – within a few generations this cultural filtration has spanned China, India, Trinidad, Ireland and Canada.
While Manga Ormolu offers multiple points of entry into sociocultural dialogue, manga, by nature, doesn’t take itself too seriously. The futuristic ornamentation can be excessive, self-aggrandizing, even ridiculous. This is a fitting reflection of our human need to envision and translate fantastic ideas into reality; in fact, striving for transcendence is a unifying feature of human cultural history. This characteristic is reflected in the unassuming, yet utterly transformable material of clay. Manga Ormolu, through content, form and material, vividly demonstrates the conflicting and complementary forces that shape our perceptions of Ourselves and the Other.
