The interplay between matte and glossy finishes transforms stone from inert material into dynamic art. Artists employ specialized techniques to highlight this textural duality, creating works that engage both eye and hand.

For matte surfaces, sculptors favor coarse-grit abrasives (60-120 grit) and bush hammering tools that fracture microscopic planes. This diffuse reflection absorbs light, producing soft shadows ideal for organic forms like draped fabrics or weathered skin. The unfinished look of Michelangelo's "Slaves" series demonstrates this approach's emotional power.

Glossy finishes demand progressive polishing with diamond pads (up to 3000 grit) or chemical enhancers. The reflective surface acts as a visual anchor, drawing attention to focal points. Bernini perfected this in "Apollo and Daphne," where Daphne's gleaming fingertips contrast with bark-like matte textures.

Strategic contrast techniques include:

1. Directional polishing - Leaving tool marks matte while smoothing high planes

2. Selective sealing - Applying resin only to recessed areas

3. Thermal differentials - Using torches to create satin transitions

4. Hybrid abrasives - Combining sandblasted and hand-rubbed sections

Contemporary artist Emily Young often juxtaposes rough-hewn edges with mirror-polished faces in her sandstone works, proving this ancient practice remains vital. The tension between finishes creates narrative depth - glossy surfaces suggest fluidity while matte areas imply solidity.

Conservation plays a crucial role. Matte areas typically require more frequent cleaning as their porous nature attracts grime, while glossy sections may need wax replenishment. This maintenance dichotomy itself becomes part of the artwork's evolving character.

By mastering these contrasts, artists transform stone's inherent qualities into visual dialogues between permanence and ephemerality, between earth's roughness and human refinement.