Image 1 of 1
Image 1 of 1
Image 1 of 1
Image 1 of 1
December 1984. Granite, steel. Dimensions: 6.5 × 7.5 × 3.5 ft (1.98 × 2.29 × 1.07 m).
Private collection, Chicago, IL.
Rounder I is the first work in my Rounder Series and grew directly from many of the formal concerns of the Go-Rounds. Two massive granite elements are joined by a broad steel arc, creating a physically charged relationship of weight, balance, and suspension. The curved steel both connects and separates the stones, while the exposed bolts, brackets, and forged elements make the act of assembly an integral part of the sculpture. These concerns evolved from my earlier tensegrity, or Brute Series, in which the mass and weight of stone became active sculptural forces.
The title first refers to the rounded steel form and circular movement of the composition, but “rounder” also describes a person of dubious character—a drifter or someone who does not quite belong to respectable society. I liked that slightly disreputable, “other side of the tracks” association and the unexpected character it gives the work. It reflects my growing interest during this period in moving beyond purely structural concerns and allowing titles and materials to introduce a more associative and metaphorical dimension.
The work was exhibited in 1984 at the Grimaldis Gallery in Baltimore, sold and delivered to the Lauder Family in Chicago.
December 1984. Granite, steel. Dimensions: 6.5 × 7.5 × 3.5 ft (1.98 × 2.29 × 1.07 m).
Private collection, Chicago, IL.
Rounder I is the first work in my Rounder Series and grew directly from many of the formal concerns of the Go-Rounds. Two massive granite elements are joined by a broad steel arc, creating a physically charged relationship of weight, balance, and suspension. The curved steel both connects and separates the stones, while the exposed bolts, brackets, and forged elements make the act of assembly an integral part of the sculpture. These concerns evolved from my earlier tensegrity, or Brute Series, in which the mass and weight of stone became active sculptural forces.
The title first refers to the rounded steel form and circular movement of the composition, but “rounder” also describes a person of dubious character—a drifter or someone who does not quite belong to respectable society. I liked that slightly disreputable, “other side of the tracks” association and the unexpected character it gives the work. It reflects my growing interest during this period in moving beyond purely structural concerns and allowing titles and materials to introduce a more associative and metaphorical dimension.
The work was exhibited in 1984 at the Grimaldis Gallery in Baltimore, sold and delivered to the Lauder Family in Chicago.
