1984. Granite, steel. Dimensions: 20 × 34 × 14 in (51 × 86 × 36 cm).
5th Go-Round continues my exploration of the circular steel form joining two found granite elements, but here the relationship becomes more open and dynamic. A broad steel arc rises from the smaller stone and reaches toward the much larger granite mass, which is poised precariously on a single point. Gravity, weight, and balance—concerns carried forward from my earlier tensegrity, or Brute Series—remain essential, while the sweeping curve and strong diagonal steel bar introduce a more gestural sense of movement and arrested motion.
As in the earlier Go-Rounds, the title refers both to the circular movement of the sculpture and to the rodeo expression I encountered while living in Wyoming—another “go-round,” or another attempt. The series reflects my belief that a sculptural idea is rarely exhausted in a single work; instead, it develops through repeated approaches and variations. By 5th Go-Round, the circle, stone, and idea of repetition had become increasingly interconnected, anticipating the more metaphorical language of my later Sisyphean Circles.
1984. Granite, steel. Dimensions: 20 × 34 × 14 in (51 × 86 × 36 cm).
5th Go-Round continues my exploration of the circular steel form joining two found granite elements, but here the relationship becomes more open and dynamic. A broad steel arc rises from the smaller stone and reaches toward the much larger granite mass, which is poised precariously on a single point. Gravity, weight, and balance—concerns carried forward from my earlier tensegrity, or Brute Series—remain essential, while the sweeping curve and strong diagonal steel bar introduce a more gestural sense of movement and arrested motion.
As in the earlier Go-Rounds, the title refers both to the circular movement of the sculpture and to the rodeo expression I encountered while living in Wyoming—another “go-round,” or another attempt. The series reflects my belief that a sculptural idea is rarely exhausted in a single work; instead, it develops through repeated approaches and variations. By 5th Go-Round, the circle, stone, and idea of repetition had become increasingly interconnected, anticipating the more metaphorical language of my later Sisyphean Circles.
