Page 59 - Studio International - July 1965

New York Commentary

references-heart shapes, buttock shapes, breasts-are position. Robert Howard, on the other hand, composes
cross-indexed with strictly geometric definitions. A full­ his steel sculptures in broadly expansive, but always
bodied sphere is cut cleanly, like a physicist's model, balanced planes. His yellow landscape with its series of
or it is tapered off like a growing organism. When the disks and fins spreading from a central support cuts into
light flows over the curving walls, still other con­ space with broad assurance. Colour here functions
figurations announce themselves. mainly as unifier since it is applied evenly throughout
At the Royal Marks Gallery the work of five sculptors, the piece.
two of whom are not known to New York viewers, Another steel sculptor, Duayne Hatchett, polishes firm
makes a handsome show. In keeping with recent and machine-like shapes in frontal attitudes, achieving a
tendencies, two of the five are interested in colour. cold poise similar to that in the work of Higgins. Mark
David Weinrib is an exuberant experimentalist, putting di Suvero exhibits a powerful composition based on the
together pieces of opaque and transparent plastic in paradox of weights and balances. A huge, rough, half­
configurations that respect no previous laws of corn- log is balanced in a precarious diagonal over a steel

-2.-1.2..
3 4

table support. The dynamic lines of this cantilevered
composition are confounded by a scribble of small steel
forms that dangle over the edge of the table. Finally,
Roger Bolomey exhibits one of his plastic wall reliefs,
conceived to look like a more massive material. The
lightness of the plastic, however, cannot be forgotten
and the trick of disguise spoils the effect. ■
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