Page 57 - Studio International - July/August 1967

does look pretty much like that, when we see him being painted. This is a recent development in to lift from the floor and to float away as one gazes
on the goggle-box. But it hardly seems enough to Paolozzi's work, but is not completely new. What at them.
base a career on, any more than does Mr Dolphin's is new is the fact that the characteristic Paolozzi
gift for transforming the patterns one sees in cheap forms have been so much simplified. His work no Michael Kidner, whose work is now on show at
wallpaper. Christine Smith's frozen, flattened ob- longer looks like non-functional machinery. In- the AXIOM GALLERY, has had a career which is
jects — a two-dimensional open suitcase for instance— stead, it seems a great deal more like science-fiction
have life as well as wit, but here again one wonders architecture — scale-models of windowless towers
what her course of development can possibly be. for a city of Jupiter or Venus. The forms are pillars, Below left, a work by a student taking the
altars, shrines. It's almost as if Hepworth had Foundation Studies
That contemporary artists do succeed in develop- suddenly become intensely urban, for this is a very Course at Manchester College of Art
ing, despite the odds, is proved by three at least of romantic simplicity, with strange links to the Below right Eduardo Paolozzi Sumen-Suren 1965
the final one-man shows of the season. Eduardo sculpture which was being made in the thirties and Chrome plated steel, 60+ x 34 x 30 in.
Paolozzi has returned to the HANOVER GALLERY forties. The glittering silver surface contributes an
with a show which is probably his boldest yet. The eerie weightlessness to the total effect. The reflec- Bottom right Christine Smith Eight days a week
sculptures are all chromium-plated, instead of tions unfocus the eye, so that the sculptures seem painting, 20 x 31 in.