February 1987. Painted granite, painted steel. Dimensions: 35 × 54 × 18 in (89 × 137 × 46 cm).
Private collection.
Blue Rounder I continues my exploration of the circle as a structural and visual device, bringing two pieces of stone into a precarious relationship with painted steel. The sweeping arc creates a sense of movement while gravity and balance remain active forces. The painted stone reflects my interest during this period in moving away from the modernist doctrine of truth to materials and toward color and a more expressive sculptural language.
The stainless-steel taper pins are intentionally prominent, both visually and conceptually. Rather than conceal how the sculpture is assembled, I make the connections part of the image—the bright stainless pins contrasting sharply with the darker painted steel and rough stone. They continue my long-standing interest in visible assembly, allowing the means by which the elements are joined and held in balance to become part of the sculpture itself.
February 1987. Painted granite, painted steel. Dimensions: 35 × 54 × 18 in (89 × 137 × 46 cm).
Private collection.
Blue Rounder I continues my exploration of the circle as a structural and visual device, bringing two pieces of stone into a precarious relationship with painted steel. The sweeping arc creates a sense of movement while gravity and balance remain active forces. The painted stone reflects my interest during this period in moving away from the modernist doctrine of truth to materials and toward color and a more expressive sculptural language.
The stainless-steel taper pins are intentionally prominent, both visually and conceptually. Rather than conceal how the sculpture is assembled, I make the connections part of the image—the bright stainless pins contrasting sharply with the darker painted steel and rough stone. They continue my long-standing interest in visible assembly, allowing the means by which the elements are joined and held in balance to become part of the sculpture itself.
