The idea of sculpture as drawing in space has been central to the development of modernist sculpture from the first decades of the twenty-first century. Julio Gonzalez first articulated it in 1932, describing the “new art: to draw in space”. Gonzalez was referring retrospectively to Picasso’s early sculpture and, by implication, to the welded metal sculpture on which he and Picasso had recently collaborated. The phrase makes reference to the pictorial origins of the new sculpture in cubism, and vividly conveys the character of the open, linear constructions originated by the two artists in 1928. Building on the work of Gonzalez, [David] Smith accomplished his own radical and distinctive formulation of the idea.
At the outset of his career as a sculptor, Bentham too was occupied with drawing in space. He was aware of Smith’s insistence on the primacy of a picture plane as the basis for sculpture. The two-dimensionality and dependence on line for the spatial image, which characterize Bentham’s earliest independent works explore Smith’s idiom.Victoria Baster
From catalogue essay, Dunlop Art Gallery, Regina, 1985