![]() It’s too big to be indoors and not big enough to be outdoors – truly frightening. I didn’t know if we’d be able to build it, as there was no way to mock it up beforehand.’ĪK ‘That’s the most terrifying space ever. Everybody has their own way, but I walked it for three days just to get the measure of the place, before coming up with the idea for “Promenade”. RS ‘If you really want to get that space you have to see it in its entirety. How do you approach enormous commissions like the ‘Monumenta’ series at the Grand Palais? The models are of 40 quasi-architectural projects since 1984 and I’ve been deeply interested in this moment where sculpture creates another reading of space for the past 20 years.’ My work is not architecture, but can be architectural in scale. They’re always representational or even have a specific iconography, like: if it’s a statue of a horse with two legs up in the air it means you died in battle, if it’s only one leg then you were just wounded and so on…’ĪK ‘At some levels scale has a bad name in sculpture, but it’s an integral tool when dealing with space. People call my works monumental but I don’t know of any abstract monuments. If I deal with landscape at all, it’s in elevation and bodily movement. RS ‘Robert Smithson was one of my closest friends but I was never into making land art, as most of it was shot from the air and so was essentially graphic. Instinctively I don’t want a narrative but it’s an essential part of knowing the world, which is also 3D and temporal.’ We’re used to the mise en scène, in which the first view is the whole view, but you have to keep reviewing sculpture, just as you do with Rodin, because the front of Balzac is not the same as the back. In a normal scale object – a Rodin or Donald Judd for example, the living process is the walking around its three-dimensionality. It lives through the processional or returning view. How each of us deals with our own time has a lot to do with the moment and context we were born into.’ĪK ‘Sculpture isn’t simply an object in space. ![]() Then you have to deal with where you are in relation to your own psychological subjectivity, and duration is key, because time is one of the most defining things about our individuality. Is the experience of walking through “Open Ended” abstract? No, because after a point you lose the room. RS ‘The subject matter and the content of my work is you. ![]() Your work is essentially abstract but also about the body. It also has to do with the sense that an object is only of real significance when it has an immaterial counterpoint, so it’s the materiality and beyond.’ You can hang a lot of different images on old structures, but I’m interested in the invention of form.’Īnish Kapoor ‘I’m always returning to a similar set of problems about our body’s relation with things in space, but the challenge of the work is that it needs to confound expectations. The location for each piece drives this movement, so I look at how I can deal with the space in the most singular way I can. Richard Serra ‘A lot of my work is about the duration of bodily movement through space and how one understands those sensations and experiences. How would you describe your main concerns as a sculptor? Anish Kapoor, Untitled (Blood Solid), 2002 Lacquer paint on bronze form 12 x 35 1/2 inches (30.5 x 90.2 cm) (photo courtesy of: ) ![]()
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