Arising from our first theory/practice session last Tuesday I’ve identified the artist Barbara Hepworth as a key reference to my project, in particular a bronze work of hers called ‘Squares with two circles’ which I saw a couple of years ago at the Kroller Muller sculpture park in Holland.
I remember I was drawn to this sculpture enough that I sketched it – the simple geometric forms at a slightly jaunty angle and its pleasing sense of balance gave it a kind of purity of form. The fact the lines aren’t parallel gives it an organic quality that helps it fit in with the natural environment. On each side only one of the circles funnels out which gives the two circles different qualities of depth and the way the patina on the surface is lighter in the upper half makes it appear to be dissolving into the sky at one end and firmly grounded on the other. The original form was made in 1963 although copies were made later which explains why there is also one in the Yorkshire sculpture park.
I’m interested in Hepworth’s forms in regard to my current project because of the way they act as framing devices for their environment, the holes referencing windows. Her emphasis is on form and texture rather than colour. I’m interested in the ways the forms I make create different tones of dark and light by the shadows they cast, so how colour is created by the artist in collaboration with the environment.
In the sculpture park the work is displayed outside the Rietveld Pavilion, a building in which you are at once outside and inside. This is an interesting space because of the way it blurs boundaries, the architecture more a huge sculpture you can walk through really. Many more of Hepworth’s artworks are displayed here which is appropriate since her work explores inside forms with carefully constructed positive and negative space.
I found information about this work on the Tate website and it discusses the holes in the form: ‘The integration with the landscape – one of Hepworth’s abiding concerns – is made actual by these openings, through what she termed the viewer’s ‘sense of participating in the form’ (Bowness 1971, p.12).’
I want to explore this idea that the audience can ‘take part’ in the form. It’s almost as if the interaction between you and the artwork becomes a performance, because you are not just seeing the artwork but using it as a device to look through, to perceive the world differently through, like a telescope or pair of glasses.
Placement therefore becomes important because what the sculpture ‘reveals’ through the frame will depend on where you stand in relation to it. It was important to Hepworth that the sculptures were displayed in the landscape as she explains: ‘I always imagine the sort of setting I would like to see them in, because I firmly believe that sculpture and forms generally grow in magnitude out in the open with space and distance and hills’ (Warren Forma, 5 British Sculptors (Work and Talk), New York, 1964, p.15)
I believe she may be speaking about the powerful way the changing of natural light and weathering of the material (through the day and seasons) can bring a sculpture to life in a way placing it in a room in an art gallery can’t.
Hepworth quotes from: http://www.tate.org.uk/art/artworks/hepworth-squares-with-two-circles-t00702