Page 18 - Studio International - January 1966
P. 18

Forge  Well, this is what I wanted to ask you. If you
                                                                                  got to the point where you were working in some
                                                                                  anonymous material, it would still be a technique of
                                                                                  joining one thing to another, would it?
                                                                                  Caro  You can't of course see very far ahead what
                                                                                  you're going to make next, but as I see, this is the way
                                                                                  that my mind has been working since I started to do
                                                                                  this sort of thing, and probably would go on.
                                                                                  Forge  Would it be possible to put into words why
                                                                                  this way of working has this particular hold for you ?
                                                                                  Why, if you can make one form or relationship of forms
                                                                                  by joining one piece to another, can you not make the
                                                                                  thing as a whole piece?
                                                                                  Caro  Perhaps it would be easier if I explained the way
                                                                                  that I set about these sort of things. I have a piece
                                                                                  which I put in my studio, and it strikes me as being
                                                                                  O.K. ; but that it just needs something—or maybe a
                                                                                  number of things—to make it work. Very much like
                                                                                  a note, to which you add another note and you finally
                                                                                  have a piece of music. And I don't think there's anything
                                                                                  basically against working in the way you suggest, it's
                                                                                  just that it hasn't come to mind, especially with these
       Rainfall  1964 Steel painted green 4ft. high x 8ft. 3in. x 4ft. 4in.
                                                                                  particular materials. I think this whole operation for me
                                                                                  doesn't come out of a concept in the mind, it comes   4
                                                                                  out of some vague idea, plus the stuff.
                                                                                  Forge  The actual stuff ?
                                                                                  Caro  Yes, the presence of the stuff in fact. You have
                                                                                  to lift it and put it here and that leads you to do other
                                                                                  things, just as a painter is influenced by the viscosity
                                                                                  of paint.
                                                                                  Forge  This perhaps suggests the reason why the
                                                                                  structure of your pieces is somehow very distinct from
                                                                                  the structure of other abstract sculpture which, I think,
       Bennington  1964 Painted steel 3ft. 4in. high x 13ft. 10in. x 11ft. 1 bin.
                                                                                  could also be said to be based on a sort of additive
                                                                                  principle but which explores some very clear cut
                                                                                  formalistic concept. I suppose constructivism itself, 	-
                                                                                  the tradition of constructivism, is one which embraces
                                                                                  the idea of additive sculpture, but it's also based on very 	A
                                                                                  strong formal concepts. Would you say that your
                                                                                  sculpture was formalistic?
                                                                                  Caro  No. I don't think it is. For me, it's to do with a
                                                                                  fusion of form and content into something like an
                                                                                  expression. It's not easy to get the right words for this.
                                                                                  Forge  But the main impulse is a direct relationship
                                                                                  with the thing, as a thing, isn't it?
                                                                                  Caro  Yes.
                                                                                  Forge  For the onlooker in the gallery, very much of
                                                                                  that character, the actual character of the piece is
                                                                                  connected with the fact that it's one colour, rather
                                                                                  than another, that there is a piece of blue iron or a
                                                                                  sheet of yellow steel or whatever it might be. Now at
       Pulse  1964 Painted steel 1ft. 9 1/2 in high x 4ft. 8in. x 9ft. 7in.       what point does colour enter into your relationship
                                                                                  with the work ?
                                                                                  Caro  At the end. I find that I make the work, and I
                                                                                  have to coat it with some anti-rust material unless it's
                                                                                  going to have some different treatment altogether.
                                                                                  And then I give it a colour. Sometimes the colour's
                                                                                  wrong for the sculpture, in which case it has to be
                                                                                  re-painted, sometimes it seems to call for a certain
                                                                                  colour. But it's to do with the emotive character of a
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