Page 23 - Studio International - June 1965

Pol Bury

Photo André Morain 3

Photo André Morain 4
low tufts of matted thread. The movement, the inter­
action is slow. incredibly slow. a coming and going of
life-like breath breathed in and out, a movement with­
out discernible pattern. The fascination lies partly in the
immaculate craftsmanship of Bury's works, the smooth,
beautifully-worked grained woods, the invisible, almost
imperceptible action of the connecting threads geared to
concealed moving plates activated by electric motors;
the delicately dancing, shifting masses of wire or nails
or twisted metal stems; and partly, too, in the organic
naturalness of objects whose movements mirror an
enchanted. disturbing world.
Bury's work takes him beyond the realm of 'kinetic'
sculpture in its usual connotation-that is, the action of
force in producing or changing motion, as with
Tinguely's masterfully contorted machines or Cesar's
crushed monoliths: Bury's constructions are kinetic
purely in the sense that the animal and vegetable world
is kinetic-they are essentially living things, cosmic
vibrations. sharing the qualities and functions of the

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