Page 19 - Studio International - January 1966
P. 19

Forge  The colour then is chosen as a way of putting   Caro  Well, I like very much what you've said there. If
                                 a certain stamp on what you see is the meaning of the   somebody said 'open-ended' to me, that would be a
                                 sculpture. I mean, for example, what I have in mind is   compliment. I hadn't thought of that word at all, but
                                 that big thing that was in the Gulbenkian exhibition at   certainly it's what I want. The more closed it is the
                                 the Tate—wasn't it called 'Pompadour' ? This big  more totemic, the less to do with openness, the less
                                 composition of very thin sheets and strips, very fragile,  to do with extension, the less really to do with the
                                 and very precariously balanced in a funny way—was   onlooker. This is part of the difficulty, that one needs
                                 pale pink, wasn't it?                              entity. It's like you're an entity and I'm an entity sitting
                                 Caro  Yes. The reason why it was called 'Pompadour'   here together, but as soon as we start sitting round the
                                 was that the trade name of that colour was 'Rose   table there's something, some sort of relationship, and
                                 Pompadour'. It seems to me, I've just thought of it this   I think this is basically one of the things that I'm trying
                                 minute, that for me the colour is rather like titling the   to cope with. 	                      n
                                 sculpture, not much more than that. Whereas I think
                                 it could be a great deal more than that. But at the
                                                                                    This interview was broadcast on the BBC Third Programme
                                 moment it isn't such an important interest to me.   during Anthony Caro's recent London exhibition.
                                 Forge  The colour seems to impinge again on this
                                 quality that I find in your work anyway, but which may
                                 be nothing to do with your intentions : on what I
                                 called the pictorial effect of your sculpture. I wonder if
                                 you could go on a bit more about the kind of relation-
                                 ships in space that you want to explore. I mean, it's a very
                                 striking aspect of your sculpture, isn't it, that it's
                                 always as it were open-ended ? That a piece of steel
                                 points at you and comes right out across the carpet or
                                 across the floor almost without demarcating any limit
                                 between you and the centre of the work?
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