Page 45 - Studio International - July August 1972

SOUTHAMPTON
Peter Hide

The following statement is a list of
considerations that govern my work. They
constitute the factors which most readily avail
themselves to verbal expression:
1. To demonstrate the physical properties of
steel.
2. To relate to human and surrounding scale.
3. To work to as an over-all visual sensation.
4. To be a simple discrete image-object.
5. To demonstrate structure.
There follows an expansion of these five points :
1. I take the natural properties of steel as my
subject matter and adapt it to an expressive
purpose. For instance, the deflection of a
length of steel, suspended horizontally, shows
its elasticity as well as compressive and tensile
strength. I can vary the extent and nature of the
deflection by varying the size, shape, or position
of the section in relation to the direction of
gravitational pull.
Other properties such as hardness, sheer
strength and general workability are also
acknowledged in an essentially visual way. Thus
it is a question of creating situations in which
not only these mechanical structural properties
are called for, but also in which these properties
are made visually explicit.
By juxtaposing to steel, elements made of
other materials such as glass or concrete, its
intrinsic nature can be emphasized.
2. The question of human scale is dealt with
in conjunction with point 3. The second part of
point 2: 'relation to surrounding scale' is a
matter of variable importance; in a landscape,
for instance, a sculpture can act as a key linking Work for Guildhall Square. Concrete and cast iron, 4 m height
human to landscape scale. Again, in the
installation-type work, fashionable in the sixties,
the piece is so constructed that its surroundings modulate the basic idea, but also on the fact anchoring element, and as such do not have a
become an integral part of it. To my mind these that I find it desirable to create an interplay discrete identity, but function as installations
works failed, in that they were only a solution between local colour and texture of the raw in the landscape. Thus in making a sculptural
for a partially defined set of circumstances. materials I use and illusionistic (painted) demonstration of structure the function of the
3. The first part of point 2 and point 3 are surfaces. ground in relation to the structure must be
interrelated in that to work as an over-all visual 4. Whilst my sculptures always consist of a expressed as a sculptural equivalent (see point
sensation, a piece must extend across a field of number of elements connected to each other and paragraph 2); to this end I use concrete plinths.
vision and be centred (vertically) around the I feel it important that they acknowledge this In a sense by recreating the function of the
eye-level of a standing human being. Eye-level compositeness in their form, I do not like to ground these plinths become pre-Caro type
can be taken as a horizontal median line, above make relational sculpture (e.g. Caro). By this I bases, yet there is an essential difference. By
and below or along which the piece is displaced. mean an assemblage of diverse elements bringing the 'real world' of structural forces
This factor gives the over-all height of the piece, arranged in such a way that the piece has no into sculpture the separating function of the
which, when taken into account with the outline significant over-all image. I always aim for a base becomes significant in a new way. In
wanted, gives the over-all length. simple image, immediate in its effect, that the same way as the concrete plinth becomes a
Another important factor in connection with does not have to be read like music on a stave. ground equivalent, the sculptural version of
point 3 is the use of paint as a means of For instance I think sculpture should be a structure becomes a parody of structure;
modulating or counterpointing the basic idea. resolution of forces (see 5) separate from the real a structure that fails, thus visually
Paint can unify or homogenize disparate world and as such it must be a discrete object. demonstrating the interaction of forces in itself
elements (e.g. Caro). Conversely it can 5. This point is in many ways the most —(here the deflection of steel is utilized). It is
emphasize or de-emphasize particular elements. important of all, having especial relevance to necessary to add that the idea of the parody of
Paint works in three ways : firstly, in a plastic points i and 4. structure is only one means of achieving visual
one, as a texture, film or skin; secondly as tone; All structures are a static resolution of explicitness. In works such as Compression
and thirdly as colour. Therefore, the question forces. Many structures such as bridges, other Piece and the Peter Stuyvesant sculpture
of the extent, texture, tone and colour of the than the cantilever Forth Bridge type, use the explicitness is achieved by the over-all
paint coat partly depends on the need to ground less as a passive base, more as an integral configuration. q

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