Non Finito
BreakingtheHabitofBeingAssigned.Astudyofthebodycaughtbetweenformationandrelease,testedfromthescaleofanobjecttothescaleofasquare.
Non Finito
BreakingtheHabitofBeingAssigned.Astudyofthebodycaughtbetweenformationandrelease,testedfromthescaleofanobjecttothescaleofasquare.
Non Finito
BreakingtheHabitofBeingAssigned.Astudyofthebodycaughtbetweenformationandrelease,testedfromthescaleofanobjecttothescaleofasquare.
Weight, and inside it a form that has not settled yet.
Weight
The figure sits low in the mass it carries. That weight is where every study on this page begins, and it never fully leaves.
Possibility
In the same frame the form is resolving. What the material has been given and what it could become are visible at the same time.
Turning
Seen from another side the balance shifts: more stone here, more body there. Nothing about the state is settled.
Thesestudiesbeginwithweight,andwithsomethingstillappearinginsideit.
The body sits low in the mass it carries, head down, shoulders under the load. That is the weight of existing. In the same frame the figure is still arriving: in one place the form has resolved, in another it is still material. Non finito, here, is both of those being visible at once.
Nothing in these pieces is settled yet. The surface changes as it travels, from stone to body and back again, and the state it is caught in matters more than the pose. What is unfinished is not missing. It is still open.
I imagine the stone remembering itself, and beginning to explore the forms it could take. Each study holds that idea at a different intensity: what the material has been given, and what it is starting to become, stay in the same frame.
Closer in, the tension moves to the surface. The pale cracked crust and the dense mineral body underneath can be told apart, so a head, a shoulder or a pair of hands carries the whole idea.
Two arms and a lowered head define a space between them. With a person beside it that space takes on a measure, and the work changes from something you stand in front of to something you move around. The model at the top of this page is the same piece, turned by hand.
Materialandscale,asfarastheyhavebeendecided.
This is a study rather than a built work. What is fixed is the material family and the size the studies assume, and both are set so the piece is met from underneath and from a distance.
Threeviewsofthesamestudymodel,atonescaleandwithoutshadingtricks.
They are here so the form can be checked rather than admired.
At building size the same idea starts changing how a person moves. The opening under an arm behaves like a passage and the underside of a shoulder like a cover overhead, so you are no longer in front of the work but inside it. You see detail instead of the whole, and what you take away is a route rather than an image.
Inpublicspacestoneisalwaysgivenajob:astep,afloor,asurfacewithitslimitsalreadydecided.
The figure rising between the steps steps outside that job without giving up the city. It is still a stair and still a floor, and it is also a body. People sit on the surfaces it has turned into, use its steps, and pass through its openings to reach the buildings beside it. This is where something that re-forms itself finds a place in shared life.
Turn it, or let the page turn it. From the front the head and the hands set the outer edge of the ground; as the view lifts, the same relation reads as a plan with a floor stepping down to one centre.
This begins with the weight of existing.
And asks what the material carrying that weight could become.
Sometimes a body. Sometimes an opening. Sometimes a ground that people live on.
Matterisnotobligedtokeeptheshapeitwasgiven.
Thesestudiesbeginwithweight,andwithsomethingstillappearinginsideit.
The body sits low in the mass it carries, head down, shoulders under the load. That is the weight of existing. In the same frame the figure is still arriving: in one place the form has resolved, in another it is still material. Non finito, here, is both of those being visible at once.
Nothing in these pieces is settled yet. The surface changes as it travels, from stone to body and back again, and the state it is caught in matters more than the pose. What is unfinished is not missing. It is still open.
I imagine the stone remembering itself, and beginning to explore the forms it could take. Each study holds that idea at a different intensity: what the material has been given, and what it is starting to become, stay in the same frame.
Closer in, the tension moves to the surface. The pale cracked crust and the dense mineral body underneath can be told apart, so a head, a shoulder or a pair of hands carries the whole idea.
Two arms and a lowered head define a space between them. With a person beside it that space takes on a measure, and the work changes from something you stand in front of to something you move around. The model at the top of this page is the same piece, turned by hand.
Materialandscale,asfarastheyhavebeendecided.
This is a study rather than a built work. What is fixed is the material family and the size the studies assume, and both are set so the piece is met from underneath and from a distance.
Threeviewsofthesamestudymodel,atonescaleandwithoutshadingtricks.
They are here so the form can be checked rather than admired.
At building size the same idea starts changing how a person moves. The opening under an arm behaves like a passage and the underside of a shoulder like a cover overhead, so you are no longer in front of the work but inside it. You see detail instead of the whole, and what you take away is a route rather than an image.
Inpublicspacestoneisalwaysgivenajob:astep,afloor,asurfacewithitslimitsalreadydecided.
The figure rising between the steps steps outside that job without giving up the city. It is still a stair and still a floor, and it is also a body. People sit on the surfaces it has turned into, use its steps, and pass through its openings to reach the buildings beside it. This is where something that re-forms itself finds a place in shared life.
Turn it, or let the page turn it. From the front the head and the hands set the outer edge of the ground; as the view lifts, the same relation reads as a plan with a floor stepping down to one centre.
This begins with the weight of existing.
And asks what the material carrying that weight could become.
Sometimes a body. Sometimes an opening. Sometimes a ground that people live on.
Matterisnotobligedtokeeptheshapeitwasgiven.
Thesestudiesbeginwithweight,andwithsomethingstillappearinginsideit.
The body sits low in the mass it carries, head down, shoulders under the load. That is the weight of existing. In the same frame the figure is still arriving: in one place the form has resolved, in another it is still material. Non finito, here, is both of those being visible at once.
Nothing in these pieces is settled yet. The surface changes as it travels, from stone to body and back again, and the state it is caught in matters more than the pose. What is unfinished is not missing. It is still open.
I imagine the stone remembering itself, and beginning to explore the forms it could take. Each study holds that idea at a different intensity: what the material has been given, and what it is starting to become, stay in the same frame.
Closer in, the tension moves to the surface. The pale cracked crust and the dense mineral body underneath can be told apart, so a head, a shoulder or a pair of hands carries the whole idea.
Two arms and a lowered head define a space between them. With a person beside it that space takes on a measure, and the work changes from something you stand in front of to something you move around. The model at the top of this page is the same piece, turned by hand.
Materialandscale,asfarastheyhavebeendecided.
This is a study rather than a built work. What is fixed is the material family and the size the studies assume, and both are set so the piece is met from underneath and from a distance.
Threeviewsofthesamestudymodel,atonescaleandwithoutshadingtricks.
They are here so the form can be checked rather than admired.
At building size the same idea starts changing how a person moves. The opening under an arm behaves like a passage and the underside of a shoulder like a cover overhead, so you are no longer in front of the work but inside it. You see detail instead of the whole, and what you take away is a route rather than an image.
Inpublicspacestoneisalwaysgivenajob:astep,afloor,asurfacewithitslimitsalreadydecided.
The figure rising between the steps steps outside that job without giving up the city. It is still a stair and still a floor, and it is also a body. People sit on the surfaces it has turned into, use its steps, and pass through its openings to reach the buildings beside it. This is where something that re-forms itself finds a place in shared life.
Turn it, or let the page turn it. From the front the head and the hands set the outer edge of the ground; as the view lifts, the same relation reads as a plan with a floor stepping down to one centre.
This begins with the weight of existing.
And asks what the material carrying that weight could become.
Sometimes a body. Sometimes an opening. Sometimes a ground that people live on.
Matterisnotobligedtokeeptheshapeitwasgiven.