约翰森在《二十世纪艺术史》中如此记叙:战后欧洲的雕塑,从贾科梅蒂的存在主义空虚与幻想、个人与空间的压迫的形象,到英法艺术家的传承、突破,到对金属、非具像的探索,直至意大利艺术家对传统与现代的方法在具像作品创作中的尝试,都透射着现代主义的自觉的吸纳、改造与尽媒介之可能而不断向前推进的努力。我们看到的事实也的确如此,在整个20世纪的雕塑史中,企图通过媒介的变化来实现雕塑艺术自身的更新,这是雕塑家们的一条主要探索之路。可追溯的先行者可 Johansson, in “The Art History of the Twentieth Century,” chronicles the post-war European sculptures from the images of the existential emptiness and fantasy of Giacometti, the oppression of individuals and space, the inheritance and breakthrough of the British and French artists, Metal, non-figurative exploration until the Italian artist’s attempts to use traditional and modern methods in the creation of figurative works all permeate the efforts of modernism to consciously absorb, reform and make the medium possible. The fact that we have seen is true. In the history of sculpture throughout the 20th century, it is a major exploration path for sculptors to attempt to realize the renewal of sculpture art through the change of media. Traceable pioneer can