Constructing a series of modest scale pieces over a decade from the mid-sixties to the mid-seventies, my ideas evolved about the nature of a work of art and how a viewer could relate to it. The ‘sculptures’ were often stripped down, skeletal; they were made of common materials handled in a very direct way; often they were stretched out over an area to suggest an extended scale. The implications inherent in the everyday materials and in the ambiguous references of the images informed the content.
In all of these pieces there is an intended intimacy of engagement with the viewer. There is a desire to touch the tar surface of the cone, to pick up the circle of wood with a glass in the middle with the offered hand grips, to step back from the barbed wire. In a work like “Stakes and Ropes” the mass is stripped away leaving only lines. Viewed from the top a field of seven foot poles are seen scattered down the hillside. From below a rope attached to the top of the stakes forms a line drawing against the hillside. The viewer is physically engaged in directly deciphering the work as s/he moves from the top of the hill to the bottom.
One after another these works marked out a territory of investigations. Moving from the specifics of one situation to the next, they built up layers in a continuing process of inquiry.