THE LIMITS OF SELFHOOD

The forms on display encourage physical encounter, but this is discouraged again by materials – that blank, substantial concrete and, in a different way, by the slivers of sheet metal it surrounds. The move from concrete to copper, cool to warm, marks a shift from body language to sheer optical sensation. As the bipartite structure plays or the relation between whole and part, tensions are established between what can be grasped and how literally metaphors of touch may be construed. And, as an elaborate combination of blockages and permissions returns the viewer to the point of entry, the question becomes one of mental grasp, of the capablility of sight alone. Physical negotioation of the sculptures turns into an allegory of interpretation. (Stuart Morgan, 1988)