巴西艺术家Cícero D’Ávila多年来一直作为一名传统大理石雕塑家，在实践领域成功地掌握了古典雕塑的技术，并利用ZBrush和CNC技术将他的作品推向了现代世界的新高度，提供了更高的精度和缩短了生产时间，每个作品在细节上都令人惊叹不已，对细节的精雕细琢和把握，使雕塑格外有质感。他是一个越来越罕见的艺术家，他仍然在大理石上雕刻，他在圣保罗的工作室里教青铜雕塑。有许多因素导致今天大理石雕刻师的缺乏，即高成本、大理石的稀缺性、复杂的物流以及使用材料所需的时间。传统的过程总是从粘土模型开始，然后通过模制将其转变成石膏模型，然后用石膏模型通过机器在大理石块上创建点。这个过程非常精确，但是非常缓慢。我最后的雕塑《红天使》就是这样制作的。这是一个很大的工作量，消耗了我大约两年的时间。现在有一个技术过程可以在更少的时间内达到同样的效果，它就是在石膏上扫描模型，用3D软件（如ZBrush）建模，然后在机器人上研磨最重的工件。我用手工制作的同一个天使的过程大约需要四个月。Brazilian artist Cícero D’Ávila has been making a name for himself as a traditional sculptor for years now. He’s managed to master the techniques of classical sculpture in the practical realm and has used ZBrush and CNC technology to take his work to new heights in the modern world, offering more precision and cutting down production time. Cícero is one of an increasingly rare breed of artists still sculpting in marble, which he teaches along with bronze sculpture at his atelier in Sao Paulo.There are a number of factors that contribute to the lack of sculptors working in marble today—namely high costs, a scarcity of good marble, complicated logistics, and the demanding amount of time it takes to work with the material. The traditional process always begins with a clay modeling of the work which is to be made. Then this is passed to plaster by means of molding, and the plaster model is then used to create points on a block of marble through a point machine. This process is very precise, but very slow. My last sculpture, the Red Angel, was made this way. It’s a very large work, and consumed me for approximately two years. Nowadays there’s a technological process that can achieve the same result in much less time. It consists of scanning the model in plaster, or even modeling it with 3D software (such as ZBrush), and then milling the heaviest work on a robot. The same angel I made by hand would take about four months using this process.
