Page 41 - Studio International - May 1969

on its O\Nn, it didn't really need me any volume you see a colour belt, moving 111 the flares I make all the acrylic lenses.
more. Well, then I decided to develop the opposition inside the volume-which seems I mean this is something that could not be
conic sculptures. For at that moment the only impossible. made by anybody else. In the Linear light
ones I had made were the solid cork cones LINDSAY: I would suggest that if you made the cylinder I had to do all the winding because
with poems in Letraset around them, and I cones for the pier at Battersea, then they the pattern on the cylinder could not be con­
thought how beautiful they would be if they would really have the right value. trolled by anyone else. I have to be very care­
were invisible and transparent and the words LIJN: Dimension is very important. To make ful not to compromise once the work is out
could float in space, and so I decided to make a sculpture in a fantastic proportion would of my hands and into the hands of the tech­
some in clear perspex. Then I thought I immediately enhance it, would create a much nicians. I have to be sure that the technician
would make some highway cones, which I had more extraordinary effect. does not bend the material instead of cutting
loved, and I saw them as signals, pointing the LINDSAY: You recently said that you don't it, because it is easier, or cheaper to do.
right way in more than merely a sort of trans­ work with your hands, that you like working LINDSAY: How did you get the result in your
port problem. with your mind. Water discs? I remember the enormous effect
The conic shape was a voluminous and heavy LIJN: Well, I think that's a bit of exaggeration, they had on me the first time I saw them. I
shape and yet an aerodynamic shape-it's but I don't feel that I am necessarily an imagined that I would be able-if I looked at
something that's going up towards space, like artisan but perhaps more an inventor. I think them long enough-I would become part of
the Egyptian pyramids that eliminate them­ I can compare it to the difference between a them and therefore be able to float in space.
selves as they get higher and finally become research scientist and a technician. I am not "\,Vas that your intention?
nothing. I think that a cone has to spin. But I terribly interested in making the object but I LI J N: I think that my first intention-my first
made my cones truncated at the top because have to, in order to see my invention. vision-was basically an idea of a world of
I wanted the circle of the base to have a LINDSAY: But aren't you afraid that at one light. But it was a vague one. I made the disc
parallel and rhythmic circle at the top, and moment your thought and your inspiration myself. I put the water in the oil, and I saw
not to disappear. And I felt the way I wanted will be lost in the mechanization when it the condensation of the drops and I thought
to dematerialize the cone was by putting a leaves your hands? 'this is a world of outer space', and then I had
section in the cone itself which would be a LIJN: I have a precise vision of what the work it slowly turning without the balls on it.
massive part of it, and yet by being un­ is going to be and there is nothing vague about Afterwards I put on a ball. Primarily to see its
balanced when the cone started spinning this it. I make precise drawings of the work reflection on the white surface of the back­
section would create a movement which in that I want made, or of the parts of the work ground of the disc.
itself would deny the movement of the cone. I want made, because most often I assemble LINDSAY: The rhythm of the two balls made
You then see the cone as a volume moving it and certain parts I make. For example, me feel that I was being integrated into the
around its axis, and at the same time in that I do all the electrical part of the work. In vibration.
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