Page 28 - Studio International - June 1974

especially paint surface in Open (Red-Blue) changed primarily because its proportions were
Bound denies this quality — it doesn't create wrong but because changes were needed to
conditions suitable to promote empathy. The support the eventual recognition of its symbolic
handling-signs are too self-conscious and the importance. The self-assertive and relatively
paint asserts its glossiness with excessive `closed' earlier works such as Rose-Bud,
artificial regularity, all parts receiving the same Twilight, And the Birds Began to Sing, Through,
treatment. Consequently the time structure is etc, are sculptures which can stand as
altered and we become aware of the mechanical independently from the viewer as his ego will
side of the creator. Open (Red-Blue) Bound allow him to stand apart from his fellow man.
rises higher, physically, than Open Bound; its These works had their own ego, their own life
`Gothic' tendencies suggest a desire to reach out and further associations can be drawn between
and up, to strive not for communion but for an them and other forms of organic and animal life.
audience with a higher value. In this it is The break with this form of autonomy first
probably too small, since its soaring lines are occurred formally. The works were still
terminated too quickly. The inside and outside expansive and the artist's statements were made
are similar in paint and material characteristics in the grand manner. I am thinking of Reel z,
and optically appear to flatten out. The inability Sky, Slant, Ascona, amongst others. These are
to differentiate between the two regions not 'living' in the animist sense, they move, but
generates within us the same experience and we only in terms of structure. Each is tied to its
cannot endow the inner space with the neighbour by proportion, shape and
tranquillity needed for spiritual harmony. The composition. King started to use elements
outside plates, which in Open (Red-Blue) Bound closer in character to prefabricated materials in
are covered with mesh, act partly as barriers late 1965 and continued up until 1972. Inert and
preventing eye and physical movement inwards. anonymous substances were moulded and
In the spaces between the question is raised of squeezed into shape in Rosebud and Ghengis
which qualifications are needed for entry, Khan. The panache and flamboyance of their
physical possibilities having already been characters declared that power and drive are
(Top) Span 1967, steel, 8 x 15½ x 17½ ft. denied. This indicates the need of the artist for essential and vital life-forces without which
some sort of religious practice with which he can there is a noticeable dehydration. These works
(Top right) Red Between 1971
Steel, 6 x 15x 13 ft. identify. Aesthetic, perceptual and stylistic raise the question of why should such a force
questions have become less important to King exist ? Where does it arise from or go to ? Is it
(Bottom) Wall Piece 1973
recently, and peripheral to the central problem constant ? Does it tire ? What is the reason for
visually demonstrate this elusive and enigmatic of finding a religious solution through the body such power ? The later constructed pieces
search for union. We can see the centre and are of his sculpture and the spirit of man. The (Reel 1, etc.) are without such associative
led to it visually; we are given the conditions for resolute manner with which the artist has qualifications. They move rhythmically and take
entry, in the sense of physical size, but are not pursued this raises the question of whether the our eyes in circular trips, as most of King's
allowed to pass. If we dare to try, 'foot- residue of his search, within the work, is valid or works do, but avoid enclosing this movement
awareness' trips us up. The space is sacred. merely a hindrance. within a single image. Ascona develops accord
Open Bound is conducive to human empathy. Modification of various sculptures at later between inner and outer movements but
The 'left' state of the materials is as natural as periods suggests something of King's essentially uses two structural systems. One, a
our own body. The similarity of materials and questioning process. The Academy Piece was not rigid and right-angled geometry, the other
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