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4

[[crossed out]] [[?]] path [[/crossed out]]

[[crossed out]] Sources of inspiration [[/crossed out]]

In every object I see a creative possibility. I remember walking in Greece in 1965 and gathering broken commercial bricks that I related to the capitals of ancient Greek columns. Plain stones, too.

Often I recognize AEIOMATA (axiomata) of ancient presences in contemporary commercial and industrial symbols. Times Square I relate to the Byzantine: neon advertising signs high up in the sky against a background of [[crossed out]] clouds [[/crossed out]] sky n the flat painted letters of the billboards.

My earliest work, resulting from the creative possibilities of transformation that each object presents, was The Cycladic Letterless Book. It evolved from the plaster cast of the inside of a commercial carton;  I related the imprint, or cast of the carton, with its divisions, to Cycladic sculpture.

In the work entitled Clytemnestra, inspired by Irene Papas's interpretation of Iphigenia in Aulis by Euripides, with references to the Victory of Samothrace, a woman's torso emerged from a letter S taken from a commercial sign, cut and reformed. Looking back at my work, I realize how slowly art develops. But the city around me moves fast.

Many years of studio routine may go by between small discoveries in the same visual search and direction. What I call studio routine