Page 45 - Studio International - September 1969

people come up with different arrangements forms, in the proportions and actual potential 1 Peter Hobbs
of the modules; it's always possible to learn relationships of forms, and still more perhaps Collage No. 12
something. There's the possibility of working in the relationship of form to material. Do Working drawing for Box 1969
Collection: Gene Baro, New York
toward a conception—even of serving a scheme you have an ideal material in mind for Box?
or plan—a kind of computer idea, but also of HOBBS : Costs are a factor. One doesn't wish to 2
Box 1969 (Multiple permutation sculpture)
adlibbing the arrangement, allowing the work price a multiple out of the market. This being Aluminium
Edition 80
in progress to take over. granted, I designed Box with three materials in
24 x 18 x 8 in.
BARO: You have an instruction sheet. Is that a mind: aluminium, wood, or plastic. What is Box contains 192 units
spur to invention ? important is a sufficient weight and a light- 3
HOBBS: Those instructions are intended to be sensitive but non-reflecting surface. Clarity of Box and contents
printed as blueprints. They deal with basic form is essential. A mixture of these materials 4
Permutation 14A
relations from which variations will depart. would be acceptable—an aluminium box and
For that matter, the arrangement need not be wood and plastic contents. 5
Permutation 30A
in one unit. One can make three or four BARO : What led you to a multiple ? How is this
sculptures out of the elements. I mean experience affecting your present work? In 6
Permutation 6A
you to build upward or outward, as you wish. short, does one multiple lead to another?
BARO : What is it that makes Box differ from an HOBBS: For the last twelve years, I've always
ordinary kindergarten box of bricks ? worked on a large scale and in large size—in
HOBBS: There are differences in scale, weight, sculpture and painting. Discarding the small
material and—most important—differences of drawings for these projects. In making a suite
constructive range. I see Box as an adult and of prints in 1966, I became interested in
intellectual pursuit, as with chess as opposed smaller works—smaller works but still ample
to snakes and ladders. I have left the possi- in scale. The multiple idea in the prints led
bilities open-ended so that one goes beyond to the notion of a sculpture multiple.
pattern building. The multiple has added a dimension to my
BARO: The aesthetic of Box—Box in action— activity. I paint and sculpt of course, but
depends on who is behind the particular multiples too come to mind. I am working on
arrangement; but also the aesthetic is in the a second one, intended for sheet steel.
q