Page 34 - Studio International - January 1966

whole work is an embrace and the references to the human references. From the side it has a low, swinging
human body—vertebrae, limbs, sexual organs—are clear shape, not unlike a simple Roman oil lamp.
and direct, yet also sublimated. The whole piece The largest work is an 11-foot vertical structure
satisfies aesthetically by its inbred logic, the elegance entitled Motherless. Here again references to the
of the sinuous line, the soundness of the execution. human body can be detected, but it is a more skeletal
Closely related to this work is Lydia, a smaller design, concerned with the mechanics of the bodyrather
exercise, which employs the same embracing movement than sensuous relationships. Thus one is reminded of
in a less complex combination. This work, and indeed bone structure, of joints and levers. The imagery is a
almost all the pieces, shows a marked difference combination of human and machine, the reduction of
between the frontal and profile views. Brazdys says organic form to mechanical precision.
that all his works are 'frontal pieces, but thought out Perhaps the most elegant of the new pieces, in highly
in the round, with two equal halves.' Lydia from the polished steel, is a small sculpture entitled Funny Bird.
front has the shape of a lyre bird, a fetish-object with The name exactly suits the image, a strange, witty image

Profile view of Lydia
1965
Welded steel
Height 14 in. Length 31 in.
Frontal view opposite

Bird 1965
Welded steel
Height 16 in. Length 28 in.