"In the late evenings, and during the night I did innumerable drawings in gouache and pencil – all of them abstract, and all them my own way of exploring the particular tensions and relationships of form and colour which were to occupy me in sculpture during the later years of the war."
Barbara Hepworth
"There is an inside and an outside to every form. When they are in special accord, as for instance a nut in its shell or a child in the womb, or in the structure of shells or crystals, or when one senses the architecture of bones in the human figure, then I am most drawn to the effect of light. Every shadow cast by the sun from an ever-varying angle reveals the harmony of the inside to outside. Light gives full play to our tactile perceptions through the experience of our eyes, and the vitality of forms is revealed by the interplay between space and volume."
"At this time [1928–9] all the carvings were an effort to find a personal accord with the stones or wood which I was carving. I was fascinated by the new problem which arose out of each sculpture, and by the kind of form that grew out of achieving a personal harmony with the material."
Barbara Hepworth
As a sculptor I have often used Barbara Hepworth as a point of inspiration, just as she used Brancusi.
I have attempted to convey her influence in my own work with a series of small soap stones that I have carved while on camping trips or moments where I am struck by the surrounding environment.
The drawing I am showing is part of that journey. I have used the same materials (gouache, pencil, paper) as Barbara Hepworth to convey these forms.
This drawing is a sculpture reproduced on paper.
Barbara Hepworth
"There is an inside and an outside to every form. When they are in special accord, as for instance a nut in its shell or a child in the womb, or in the structure of shells or crystals, or when one senses the architecture of bones in the human figure, then I am most drawn to the effect of light. Every shadow cast by the sun from an ever-varying angle reveals the harmony of the inside to outside. Light gives full play to our tactile perceptions through the experience of our eyes, and the vitality of forms is revealed by the interplay between space and volume."
"At this time [1928–9] all the carvings were an effort to find a personal accord with the stones or wood which I was carving. I was fascinated by the new problem which arose out of each sculpture, and by the kind of form that grew out of achieving a personal harmony with the material."
Barbara Hepworth
As a sculptor I have often used Barbara Hepworth as a point of inspiration, just as she used Brancusi.
I have attempted to convey her influence in my own work with a series of small soap stones that I have carved while on camping trips or moments where I am struck by the surrounding environment.
The drawing I am showing is part of that journey. I have used the same materials (gouache, pencil, paper) as Barbara Hepworth to convey these forms.
This drawing is a sculpture reproduced on paper.
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