Page 46 - Studio International - September 1969

Vera Lindsay in

discussion with

Michael Sandle

LINDSAY: What do you imagine we are doing The reason I make the alterations is not because, SANDLE: How do you mean ?
this interview for? I know why I am doing it or rather is because, the object there growing LINDSAY: Well, when you say you make those
—I am doing it because I like your work and in front of me doesn't relate closely enough to changes, is it the present experience that makes
therefore I would like to do an interview with the idea. I believe the whole endeavour adds you make the changes ?
you. Is that enough? up to something which is in the work and which SANDLE : Yes, the present experience. The
SANDLE : I can't answer that question. is visible or can be sensed. When you look at point is that when I said earlier on I had a
LINDSAY: What kind of way do you think your something like Oranges and lemons, I think that labyrinthine mind what I mean is that I see
mind works ? whatever one might think about it you can tell very many possibilities, and if I have an idea
SANDLE : My mind is turgid. And labyrinthine. this didn't come off a drawing board. This is which has grown out of experience, it suddenly
I'm interested in pursuing something which is an 'experiential' thing. It has been modified by comes to me that this thing in my mind is going
inchoate and vague. One can go so far in being experience. to be a paradigm for a lot of my experience, and
precise about what one's intentions are, but The drawings for the piece I am working on maybe be taken as a paradigm for the experi-
the direction is towards something which is now—there are at least a hundred drawings ences in the outside world. I can say what I
not yet formed. round the idea—sometimes only so-called construct is a paradigm for—a total of experi-
LINDSAY: You mean to say you don't have to `thumbnail' sketches. Some of them very ences. There is in my mind at that moment a
form it before you start. elaborate drawings worked out to look like very hazy view of possibilities and I am aware
SANDLE : It's obviously formed in a very photographs. The thing is that one goes so far that there are so many possibilities and that I
essential way by one's so-called subconscious. to isolate the nature of the piece—you know, have to refine them down; I have to condense
There's a direction towards something which the—those essences that the piece is about, you and to compress this thing until it takes on a
from a rational point of view one can see where see—those human attitudes and human experi- form.
it's come from by making an analysis of one's ences that are engrained in it. Which is a LINDSAY: But then you must have very worry-
experience, but the way ahead is towards question of decision—it's a question of prior ing moments, Mike, when you say to yourself,
something which is very—ambiguous. It be- experience. If I didn't have the life I had I `If I had this experience I might be able to do
comes a paradox if one tries to be precise. wouldn't be able to do this particular work. quite a different sort of sculpture'.
LINDSAY: Is that why you take so long over a LINDSAY: But Michael, what do you mean—the SANDLE : This is quite possibly the case, yes.
piece of work ? present life, at the moment, during this year, LINDSAY : So, does that force you to be in a state
SANDLE : There are a lot of reasons why I work or the life that you were born with? about having certain experiences that you
slowly. Certainly I don't want to miss any- SANDLE : The thirty-two years of existence so haven't had in life?
thing. I believe I modify the concept as I go far. SANDLE : No, that doesn't worry me at all. I'm
along, and the physical aspect is one of enab- LINDSAY: You mean you feel that those thirty- working from a backlog of experience. I mean,
ling me to realize the concept as tightly and two years go into every single object? when I say I'll live to 62, shall we say, 64—no
closely as possible to the idea in my mind. I SANDLE : Very much so. doubt I will have a different construct of the
know this wouldn't be possible if I submitted a LINDSAY: But then, if that is so—I don't under- world, but I'm dealing, as now—I'm situated
set of drawings and asked someone to manu- stand your argument, Michael, it seems to be right now —
facture it, because I make all kinds of very then you should bc
able to visualize your
LINDSAY : How do you feel Oranges and
subtle, sometimes very radical, alterations. sculpture practically lying thinking about it. lemons relates to the world ? —quite apart