The language of abstract sculpture has much in common with modern poetry. Robert Frost’s poetry, for instance, unites opposites. Art at its best, in all its disciplines, can be casual in tone but profound in effect; teasing and intense; playful, yet deeply penetrating.
As an individual sculpture begins to declare itself during the making, it also reveals a certain mood that evolves in various forms throughout a series. In these new sculptures this mood emerges, as in Frost’s ‘Stopping by Woods’, from a kind of frozen silence, intriguing yet mysterious. If we are attracted to the notion that a particular place can suggest ideas unlimited by space, it is because we recognize that in nature, as in art, there are those moments that can hold us in a state of sublime mystery—that beauty, however elusive, is enmeshed in implicit truth.
Douglas Bentham
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