Sculpture
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Suburbia adores a fence panel. No fence sitting around here. Entrenched belief, identity and firm sense of the other, not us. The Pink Fence is precarious, prone to meta-stasis; not only deteriorating but never still, becoming potential moving object, even target
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Black Elk (1863–1950); medicine man, Oglala Lakota: “I did not know then how much was ended. When I look back now from this high hill of my old age, I can still see the butchered women and children lying heaped and scattered all along the crooked gulch as plain as when I saw them with […]
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A response to Chillida’s use of space and material. His sense of presence compacted into a highly dense space is of great interest visually and theoretically.
