January 1977. Steel, granite. Dimensions: 67 × 57 × 165 in (170 × 145 × 419 cm).
The Torque Series is part of my tensegrity, or Brute Series, in which gravity and the pressure of the stones provide the energy—or “glue”—that holds the sculpture together without welding. The title refers to torque—the twisting force generated as the weight of the stones acts through the forged-steel bars. Stone and steel bear upon one another, creating an interdependent structure in which weight, leverage, and torque become active structural forces.
Rather than carving the stone or using it to represent something else, I allow its inherent form, mass, and weight—and the structural behavior of the steel—to become the subject of the sculpture. Gravitational forces are channeled and made visible through the interlocking forged-steel bars, creating a static energy event—a sculpture held in arrested motion. In this sense, the Torque Series is deliberately self-referential—sculpture about sculpture, assemblage about assemblage—while exploring a recurring concern in my work: how opposing forces—weight and lift, mass and movement, tension and stability—can be brought into expressive balance.
January 1977. Steel, granite. Dimensions: 67 × 57 × 165 in (170 × 145 × 419 cm).
The Torque Series is part of my tensegrity, or Brute Series, in which gravity and the pressure of the stones provide the energy—or “glue”—that holds the sculpture together without welding. The title refers to torque—the twisting force generated as the weight of the stones acts through the forged-steel bars. Stone and steel bear upon one another, creating an interdependent structure in which weight, leverage, and torque become active structural forces.
Rather than carving the stone or using it to represent something else, I allow its inherent form, mass, and weight—and the structural behavior of the steel—to become the subject of the sculpture. Gravitational forces are channeled and made visible through the interlocking forged-steel bars, creating a static energy event—a sculpture held in arrested motion. In this sense, the Torque Series is deliberately self-referential—sculpture about sculpture, assemblage about assemblage—while exploring a recurring concern in my work: how opposing forces—weight and lift, mass and movement, tension and stability—can be brought into expressive balance.
