While the artist is constructing his sculpture, he, on the one hand, produces analytical thoughts considering all plastic issues of sculpture, he, on the other hand, should search for possible answers about its location within the space. The space at issue here is primarily an a posteriori space and it belongs to the nature. What is done is the physical and aesthetic calculations of giving meaning to form by utilizing a space as well as giving meaning to a space by utilizing the structure of the form. The necessities of sculpture are emptiness and mass. In other words, sculpture is a form of art taking place, coming to existence within emptiness. The space emerging pursuing the construction of the sculpture is an a priori space and it no more belongs to the nature; it belongs to the historical and cultural being of human; it is situated in nature but it is against nature. This space acquiring variety within the emptiness obtained by fracturing the structure constructing the form will both dwell somewhere within the sculpture and confine its frames. The present article aims to investigate the history of relation between the art object and space and by deriving from the findings of this history, the adventure and transformations of the associations of sculpture and space gone throughout the centuries.
Key Words: Space, construct, form, mass, emptiness-fullness, artist