Page 57 - Studio International - June 1969

minor way, if at all.
It is true, however, that some works look
better in an open-air environment than in a
studio or gallery, but then this is how they
are intended to be seen. If they fail to come
off as structures the environment does not
redeem them.
Pye's sculpture is a mixture of the sensuous
and the austere, the sinuous and the angular,
with the sensuous and sinuous predominating.
Each piece is an attempt to bring about a
resolution or an accommodation between
them. Sometimes this consists in a modulation
from straight to curve and back to straight.
In Triple loop this is done in one continuous
movement from a short, straight cylinder,
through three ascending loops to a long
descending straight cylinder. (The movement
can, of course, be read the other way.) In
Shiver three parallel upright cylinders have
each a triple undulation but the undulation
begins a wavelength above (or below) that of
its neighbour, so that the effect is the visual
equivalent of ascending (or descending)
chords of triads. In Untitled No. 43, however,
the elements—a cylinder, a hemisphere, and
what I shall call, for want of a technical
name, a `Y-joint' standing on its side—are
merely juxtaposed, but the `Y-joint' mediates
between the other two forms. In these works,
and also in Cantilever, in which a serpentine
movement descends from the left-hand corner
and finally straightens out flush with the edge
at the right-hand corner, the resolution is
satisfactory. (It should be added that in both
6
Head of Buddha image 8th— 1 Oth century sculpture at Burleighfield, William Pye's Triple loop and Cantilever the tubular forms are
Stucco. Dvāravatī style. looked the most impressive. His two pieces, reflected and distorted by a bevelled base,
64 in. high. Roland, Browse, Delbanco
Two mitres and NM' (Tripod series III and thus adding complexity to a simple structure.)
7
Buddha making the earth-touching gesture 15th-16th century IV), stood under some beech trees and Some of the other works I find less satisfactory.
Bronze. Ayudhya style caught the light and shadow, the foliage and The elements seem to pursue their separate
14¾ in. high. Roland, Browse, Delbanco
the colour of their surroundings on their ways and resolution does not take place. The
8
William Pye polished surfaces. structures are rather too complex and the
Untitled No. 43 1968 This ability to gain enrichment from their sensuous curves and bends too prominent.
Chromed steel
10 X 8 in. surroundings is one of the most interesting But perhaps this is because Pye is working his
Coll: the artist features of Pye's new work, most of which is in way out of his earlier sensuous and erotic
Courtesy Redfern Gallery
stainless steel. To the purist this may seem symbolism towards something more hard-
9
William Pye meretricious. Sculpture, it may be said, should edged, and has not quite completed the transi-
NYBY ( Tripod series III) 1968 find its enrichment within itself. It should en- tion. Whether this diagnosis is correct or not,
Stainless steel
103 x 72 in. hance the environment and not depend on it is clear that he is at present very much
Coll : the artist the environment to enhance it. At most, the interested in the articulation of form, in
Courtesy Redfern Gallery
environment may show it off to advantage, mitring, the birdsmouth joint, the swept tee
but dependence on the environment for its joint, etc. He has a project in which these
effect shows a weakness in conception. It may forms of articulation may be manipulated by
very well be true that in certain circumstances a spectator. In this he has exploited the possi-
too great a dependence on environment may bilities offered by various elements in use in
Last summer Patrick Reyntiens had the bright mean that there is something in the work industry (and, where necessary, industrial
idea of exhibiting sculpture in his grounds at which does not quite come off and must be firms have co-operated in making available
Burleighfield near High Wycombe. It was not covered up, like a blemish on the face that certain forms of tubular joints not in actual
an ordinary 'sculpture in the park' exhibition has to be hidden by cosmetics. But this is not use). It might sound flippant to say that Pye
such as one sees at Battersea with the pieces true of William Pye's work. For one thing the has rescued from their mundane employment
standing about self-consciously as if posing for structure of the work determines the way it is and raised to the dignity of art certain forms
La grande jatte. At Burleighfield each piece going to be affected, what parts will catch the associated with plumbing or drainage. But I
was sheltered from its neighbour by a dense light, what parts will reflect nearby objects, do not think that he would or need be
thicket of bushes and brambles out of which how they will distort them and so on. Besides offended by this suggestion. After all, from
niches and clearings had been scoured. Some this, there is an internal dialogue between the the simple prop and crossbeam grew Greek
of the pieces fitted well into their environ- various parts as they reflect one another, and architecture, which Pye so much admires. q
ment, some looked out of place. Of all the this is affected by the environment only in a