Page 48 - Studio International - September 1970

Roland Brener your work and mine could never be described some extent, the relative size and shape of
in similar terms, I think that it co-exists each element, are determined according to
and Peter Hide harmoniously and, at the same time, mutually, visual criteria. Thus mechanical function
as critical comment on each other's work.
determines the general nature of a sculpture
HIDE : To my mind, you have always attempted while visual criteria determine the specific.
a written to create an immediate response : surprise is The size of a sculpture depends on two factors,
the end for which you allow yourself the firstly that a piece must relate to human scale,
discussion widest possible freedom of means. Permanence and, secondly, the fact that from a mechanical
viewpoint every structure has a particular,
has never been an important factor in your
work; all of it was conceived and executed ideal size.
quickly, and much of it was destroyed in an In conclusion I would add that I have rarely
equally summary manner. I think that been able to site my sculptures satisfactorily;
probably your most recent works, the string this is unfortunate as the site, obviously, influ-
and balsa-wood installations, are nearest in ences the scale of a piece. I feel it important
spirit to your ideas and represent a significant to say that, spacious though the depot is, it is
move towards a 'theatre situation'. still a compromise in this respect.
Looking back, I think the precedents for such BRENER: I have always been impressed with
a 'theatre situation' have been apparent in your obstinacy and self-sufficiency with regard
your work for some time. Your pseudo- to your work. I'm not sure that your blinkered
architectural structures seem to illuminate concentration of energy and resources is as
this, in that they function less as objects and ascribable to integrity as it is to your sense of
more as scenarios. I think this idea of the security as an artist. The most obvious quali-
sculpture as a scenario has led you on to ties in your work, its strength, weight, massive-
elevating the site of the sculpture into an inte- ness and durability, seem also to be information
gral part of it, as in the string and balsa-wood about those aspects of your personality you
installations. deem most suitable for posterity. Your whole
BRENER: My installation at Stockwell will be style is the antithesis of an avant-garde artist's
illuminated by black light and so, on this approach: dogged application and a vision
occasion, the site will not be integral, except uncontaminated by what, to you, seem trivial
in terms of size, or even be visible. The work and passing fads, will in the end become
is also new for me in that I intend using recognized as attitudes fundamental to your
figurative or symbolic elements. work, and hence of value. I think this is the
Roland Brener As you said, the balsa-wood and string space- key to an appreciation of your work: to the
Untitled 1970
Fishing rods, weights, cord and plaster ducks installations were the most personally philo- viewer it is either rather bland and pointless
sophic works of mine to date in that they were structure, or it can be profound in a purely
2
Peter Hide made in a few hours at practically no cost, non-literary sense for those with ascetic taste—
Tank 1970
Steel had no value, used little enough material for its bleak monumentality assuming signifi-
me to fit the whole lot into my pockets and cance if one is not only responsive to immedi-
ROLAND BRENER AND PETER HIDE WILL BE yet filled large areas of formal spaces dramati- acy of effect. It is unequivocal, but difficult
EXHIBITING TOGETHER FROM 15 SEPTEMBER TO cally, in a visual sense. Most important, the to evaluate and respond to.
15 OCTOBER AT STOCKWELL DEPOT, quite insubstantial materials never appeared Ultimately, you would be satisfied by the
COMBERMERE ROAD, LONDON SW9 over-extended or attenuated : in no way do I knowledge that you had created an edifice
identify my work with 'anti-form' art. that will still be standing in a century's time
BRENER: No one who is familiar with us will At the moment, in order to maintain my —a feat comparable to the design and con-
be surprised that the artists at Stockwell interest in art, I feel that I must introduce struction of a great bridge would satisfy all
Depot are not exhibiting again as a group. social or other comment into my work and to your ambitions.
Precisely for this reason many people will be this purpose I shall probably use recognizable
surprised that the two of us have chosen to or familiar elements. Unfortunately I can't BRENER: It would be naive of us to regard the
show together. say more about my contribution to the exhibi- encouragement we have received from the
HIDE: The reasons against holding a third tion as, unlike your more deliberate method, civil-servants at the Tate, Whitechapel and
show were made obvious in the second. The I won't know exactly what I'm showing till a ICA as genuine recognition. Our position as
show was by no means unsuccessful, but its few days before the opening. artists, in fact, hasn't changed at all: we are
impact was lost, partly through a lack of com- HIDE : One characteristic I feel our works still solely responsible for creating any oppor-
mon direction, partly through an uncomfort- share is dynamism. Many of them rely on tunities to show our work. I suspect that we
able variation in the quality of the work, and being held together by weights, wire, or have even retarded their attitudes further, for,
finally because there was insufficient space to something, they have the potentiality of by existing viably outside the commercial
go round. Inevitably, some people suffered movement, even disintegration. Unlike you, system of galleries, we are performing a social
more than others. The importance of all these though, I feel my approach to sculpture is service that should be the responsibility of the
factors was borne out by the two group shows essentially corporeal. I allow myself to:be con- institutions. However, as we now take our
held in Scandinavia and it became obvious ditioned by the demands of the physical independence for granted, whether or not
that an alternative must be found. world, especially gravity and the nature of constructive change occurs in the sponsored
BRENER: At the time of the first show the material. establishment is no longer of much concern
group seemed to have much in common, yet My work is always made up of separate ele- to us.
now, with the exception of Roelof Louw and ments, each of which has a structural function, HIDE : This show means a way of demonstrat-
yourself, I am either indifferent to or em- consequently an element's presence is dictated ing the independence of the Depot, and above
barassed by the work of the others, and would by mechanical necessity rather than visual all, our independence as artists from the
not choose to show with them again. Though preference. Factors of surface finish and, to imposition of any established art world. q