Page 49 - Studio International - September 1966

two forms are placed on a simple steel base, or stage, in Pye's work is satisfying both to look at and touch. He
what is almost animate relationship. They are clearly is not out to disturb or disgust. Brancusi's dictum 'Beauty
symbols for male and female, and at the same time define is absolute equity' would earn his applause. The forms
the volumes they inhabit and the space they jointly are voluptuous without being vulgar; they have great
occupy. The shapes are simple, not over-graceful or vitality and potency. Craftsmanship and finish is
elegant, and never self-conscious about their presence. important, but only as something essential, to be taken
The most ambitious, and perhaps successful, in this for granted. The large early works were cast in alumin-
series is the large Mykonos, 4 ft 6 in. high, an Arp-like ium but more recently he has used bronze, chromium-
protuberance descended from the early Deity. But now plated to achieve a hard, cold surface. The resultant
it is both male and female at the same time. In brilliant reflections have been fully incorporated in the total
chromium-plated bronze, it sits, like a reclining nude, image, especially the single concave forms which, so to
on an elaborate wooden pedestal, again almost thea- speak, echo themselves.
trical in its presentation. Apart from its own authoritative and sensitive excel-
Another group is concerned with contained, not defined, lence, Pye's work is part of an interesting stylistic diver-
space; the derivation is again from the early large sculp- sion in the current British scene. He is one of a group of
tures, especially the suspended form of 1965. A second, young sculptors who have emerged from the Royal
later version, has the hanging form, now smaller, College—including Roland Piché, Antonas Brazdys,
dominated by plated bulging walls and involved in Brian Bishop, Stephen Furlonger, Edwin Pickett,
endless interior reflections. Two standing steel frames Derrick Woodham —who without forming a dialectical
hold plated shapes, again male and female, playfully group, represent what might be loosely termed a more
prodding, almost teasing each other in rhythmic re- traditional strain. One sees their relationship to older
flected movement. Particularly successful is a small graduates, such as Ralph Brown and Geoffrey Clark, and
circular piece where the reflection between the two to Professor Meadows and Bryan Kneale, and even to the
sections seems to flow out of a break in the steel frame. mixture of surrealism and humanism in Henry Moore
The most recent works are more diffuse—perhaps, under and Bacon. It is in fact a more native tradition than the
the influence of Giacometti, attempting a greater Dadaist or geometric polychrome sculpture which has
variety of shapes and spatial relationships. reached us via America. q

Mykonos 1966 Untitled 1966
Plated bronze and wood Chromium plated bronze and cast iron
Height 4 ft 6 in. Width 4 ft 6 in. 7 x 4 in.