Sculptural Boundaries: Essays On Sculpture

This object/piece has been a problematic process, conceived just prior to surgery and planned out during the long aftermath, it is an image concerning balance-in-limits, the truncated grace of/in human scale. Originally it was without text, without purpose, conceived for its form-alone, a lone dancer en pointe, arabesque, an extreme positon at the limits. It was only later, after seeing the agave plant, that the color/hue came to mind and with it the washes used by R. Morris in his stain series. Later still it became tailored for S. J., to whom it is dedicated with the same intensity she has dedicated her energy/efforts to me. And also on point is that the reality of this object is as valid as its ideal, as the concept, and/or as any emotional responses it elicits, the object stands beyond the personal, even when it's a symbolic representation, its actuality is not artifice. Reality delineates. Objects, like life itself often surprises us, and like sculpture, can be seen from many viewpoints intensely. Thanks to S.