Page 33 - Studio International - January 1969

Colour in sculpture

Statements by Phillip King, Tim Scott,
David Annesley and William Turnbull

Colour is probably the most fragile aspect clearly and sharply expressed, unlike music
of the world of things, where qualities of where the unseen is vague and undefined.
weight, volume and texture would seem to Rodin's talk of geometry planes and
dominate. Yet it is this very fragility that volumes makes sense when one feels the
makes it important for me. internal invisible goings-on behind the
Sculpture is concrete, this I accept and even surface. It is always what goes on behind the
confirm when I make it, but to isolate that surface or in front of it that matters more
fact and dwell on it would seem a useless than what is on the surface itself.
exercise tinged with the same kind of Colour for me is the life-line into this in-
absurdity that marks the false heroism of visible world where feeling takes over from
Phillip King Blue blaze 1966/8, city monuments. thinking and without the experience of which
aluminium painting up to 25 ft deep Sculpture is I believe also the art-form one's sense of reality in art would be false
by 20 ft long by 7 ft 6 in high,
PHILLIP KING (Nov. '68)
Rowan Gallery where the unseen aspect of things is most and diminished.