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ceremoniously. 'I would like to ask you if you are a modern or an old fashioned sculptor?,' questioned the girl. 'I don't know what is modern or what is old-fashioned... I know what is sculpture, I said. I picked up a small piece of sculpture and put it before them. 'Is it modern or old fashioned?' 'Oh, this is modern.' I said this is 400 years old. Then I put another before them, and they said, 'This is definitely modern!' 'It was done 2,000 years before Christ,' I replied. I thought I would shake them up. The girl was writing on her pad. 'Mr. Lipchitz,' she said, 'I got your point.' In reality I don't know what is so called modern. We are longing today for a universal language and that is true. Is that what makes modern, what makes it new?
   INTERVIEWER: I have trouble in finding a door to your most recent sculptures in which you used found objects from nature; a crushed hat, an artichoke cast in bronze. There were a number of these at your last exhibition at the Fine Arts Associates.
   LIPCHITZ: Yes, I know what you mean,  but for me it was a necessary step because, as I explained in the introduction to the catalog of this exhibition, my character is that way. When I look at things, walking outside or anywhere, my eye falls on different things and has a tendency to bring them together. From this togetherness a vision comes out. 'What will happen if I put things together as I see them...into sculpture?' I often thought. It's not a sculptural approach,