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Granite, steel. 20 × 40 × 18 in (51 × 102 × 46 cm).
Private collection, Washington, DC.
1st Go-Round initiated the Go-Round Series and was among my first works to use a sweeping arc of steel to connect two pieces of found stone. While the work moves away from the strict structural principles of my earlier tensegrity, or Brute Series, the means of assembly remain important. Visible pins both secure the stones and celebrate how the sculpture is put together. The circular steel element also anticipates what would become one of my most persistent themes—the Sisyphean Circles.
The title grew partly from my years in Wyoming and the language of rodeo, where a contestant may get more than one “go-round” at an event. That idea of repetition and another attempt became a metaphor for my working process: no single sculpture fully exhausts an idea. Instead, a series develops through successive variations or “go-rounds,” each approaching the same formal and conceptual territory from a different direction.
Granite, steel. 20 × 40 × 18 in (51 × 102 × 46 cm).
Private collection, Washington, DC.
1st Go-Round initiated the Go-Round Series and was among my first works to use a sweeping arc of steel to connect two pieces of found stone. While the work moves away from the strict structural principles of my earlier tensegrity, or Brute Series, the means of assembly remain important. Visible pins both secure the stones and celebrate how the sculpture is put together. The circular steel element also anticipates what would become one of my most persistent themes—the Sisyphean Circles.
The title grew partly from my years in Wyoming and the language of rodeo, where a contestant may get more than one “go-round” at an event. That idea of repetition and another attempt became a metaphor for my working process: no single sculpture fully exhausts an idea. Instead, a series develops through successive variations or “go-rounds,” each approaching the same formal and conceptual territory from a different direction.