Home & Decor (Singapore) - - Con­tent - SEE MARC SI­JAN’S SCULP­TURES AT THE OPERA GALLERY SIN­GA­PORE, # 04- 15 ION OR­CHARD, TEL: 6735- 2618.

Hyper­re­al­ist sculp­tor.

Marc Si­jan’s sculp­tures are so re­al­is­tic, they of­ten make fools out of peo­ple – for­mer NBA player Michael Jor­dan once mis­took one for a real se­cu­rity guard and be­rated the art­work for ig­nor­ing him. If you’ve seen these hyper­re­al­ist life-size works, you wouldn’t be sur­prised; Marc doesn’t miss a pore, wrin­kle or freckle. The 71-year-old Amer­i­can is even able to cap­ture the look of cloth stick­ing to the skin on a hot, sweaty day! We find out more about his works.

How much work goes into a sculp­ture?

A sculp­ture takes at least six months to pro­duce – from the di­rect anatomic cast and sculpt­ing of the polyester resin to the mul­ti­ple lay­ers of flesh-coloured oil paint. All I know [about the hu­man form] comes from ob­ser­va­tion.

Why are hu­mans so fas­ci­nated by these life-size sculp­tures?

The viewer can an­a­lyse ev­ery part of these sculp­tures closely and care­fully, un­like in so­ci­ety, where one can­not ob­serve each other in the same way – that would be un­com­fort­able! I’ve heard of view­ers who will stare at these sculp­tures for a long time, just to see if they will blink.

What do your mod­els think of their 3-D form?

My mod­els are al­ways hon­oured to be part of art his­tory. As most peo­ple never see them­selves in a 3-D for­mat – and only in pic­tures or a mir­ror – it’s thrilling to see your­self as your­self.

What do you con­sider when con­cep­tu­al­is­ing these sculp­tures?

I need to ask my­self: “What is fresh and new?” and “What is the sculp­ture say­ing emo­tion­ally and spir­i­tu­ally?” I im­bue these el­e­ments in the art­work’s eyes and body lan­guage; the lat­ter is what cap­tures the emo­tional en­ergy of a hu­man be­ing. A sin­gle piece may take years to con­cep­tu­alise.

Why do you think col­lec­tors en­joy your work?

The hu­man form is the old­est sub­ject mat­ter known to mankind, so art col­lec­tors – in­clud­ing those who col­lect my work – have been col­lect­ing im­ages of them­selves since day one.

TOP Marc works out of a stu­dio in Mil­wau­kee, the US, but his works can be found all over the world – in­clud­ing Europe and the Mid­dle East.

RIGHT When asked why he chooses to sculpt se­cu­rity guards and wait­ers, Marc says: “I work with the com­mon man – peo­ple in society that of­ten go un­no­ticed.”

ABOVE If you look up-close, you can even see the veins un­der­neath this sculp­ture’s “skin”.

TOP Does this sculp­ture seem fa­mil­iar to you? Big Man Se­cu­rity Guard was fea­tured in Art Stage Sin­ga­pore 2017.

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