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January 1973. Welded steel. Dimensions: 49 × 62 × 55 in (124 × 157 × 140 cm). Destroyed.
Untitled 73 was created while I was an undergraduate at Kent State University and shares concerns with my sculpture Above and Below from the same year. A large horizontal steel plane is suspended several feet above the ground and pierced by a strong diagonal element, creating the sense that the sculpture extends through rather than simply occupies space. While not yet specifically addressing the gallery or frame as devices that define what we perceive as art, the work reflects my emerging interest in breaking and penetrating physical boundaries.
The sculpture is also an early example of my growing interest in the inherent structural and expressive qualities of steel. Rather than treating the material simply as a means of constructing form, I began to recognize how its strength, weight, rigidity, and ability to project through space could themselves generate sculptural meaning. Looking back, Untitled 73 points toward my later use of material, structure, gravity, and spatial extension as active elements in the work.
January 1973. Welded steel. Dimensions: 49 × 62 × 55 in (124 × 157 × 140 cm). Destroyed.
Untitled 73 was created while I was an undergraduate at Kent State University and shares concerns with my sculpture Above and Below from the same year. A large horizontal steel plane is suspended several feet above the ground and pierced by a strong diagonal element, creating the sense that the sculpture extends through rather than simply occupies space. While not yet specifically addressing the gallery or frame as devices that define what we perceive as art, the work reflects my emerging interest in breaking and penetrating physical boundaries.
The sculpture is also an early example of my growing interest in the inherent structural and expressive qualities of steel. Rather than treating the material simply as a means of constructing form, I began to recognize how its strength, weight, rigidity, and ability to project through space could themselves generate sculptural meaning. Looking back, Untitled 73 points toward my later use of material, structure, gravity, and spatial extension as active elements in the work.