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It is easy now to communicate with people through abstraction, and particularly so in sculpture. Since the whole body reacts to its presence, people become themselves a living part of the whole.

Barbara Hepworth

I felt the most intense pleasure in piercing the stone in order to make an abstract form and space; quite a different sensation from that of doing it for the purpose of realism.
BARBARA HEPWORTH

Different Order Space
Halfway through any work, one is often tempted to go off on a tangent. Once you have yielded, you will be tempted to yield again and again… Finally, you would only produce something hybrid.
BARBARA HEPWORTH

Hybridity Produce Yield
The naturalness of life… the sense of community is, I think, a very important factor in an artist’s life.
BARBARA HEPWORTH

Artist Community Thinking
I rarely draw what I see. I draw what I feel in my body.
BARBARA HEPWORTH

Art Body Draws
At no point do I wish to be in conflict with any man or masculine thought. It doesn’t enter my consciousness. Art is anonymous. It’s not competitive with men. It’s a complementary contribution.
BARBARA HEPWORTH

Art Men Wish
I am the form and I am the hollow, the thrust and the contour
BARBARA HEPWORTH

Form Hollow Thrust
My left hand is my thinking hand (image), my right hand my doing hand (sequence).
BARBARA HEPWORTH

Hands Left Swquence Thinking
The United Nations is our conscience. If it succeeds it is our success. If it fails it is our failure.
BARBARA HEPWORTH

Country Failing Nation Succeed United
[My works are] an imitation of my own past and present and of my own creative vitality as I experience them in one particular instant of my emotional and imaginative life. . .
BARBARA HEPWORTH

Creative Emotional Past
My left hand is my thinking hand. The right is only a motor hand. This holds the hammer. The left hand, the thinking hand, must be relaxed, sensitive. The rhythms of thought pass through the fingers and grip of this hand into the stone.
BARBARA HEPWORTH

Hands Stones Thinking
It is easy now to communicate with people through abstraction, and particularly so in sculpture. Since the whole body reacts to its presence, people become themselves a living part of the whole.
BARBARA HEPWORTH

Body People Sculpture
One must be entirely sensitive to the structure of the material that one is handling. One must yield to it in tiny details of execution, perhaps the handling of the surface or grain, and one must master it as a whole.
BARBARA HEPWORTH

Details Tiny Yield
Whenever I am embraced by land and seascape I draw ideas for new sculptures; new forms to touch and walk around, new people to embrace, with an exactitude of form that those without sight can hold and realize… …It is essentially practical and passionate.
BARBARA HEPWORTH

Ideas Land Sight
I love my blocks of marble, always piling up in the yard like a flock of sheep.
BARBARA HEPWORTH

Block Sheep Yards
Body experience… is the centre of creation.
BARBARA HEPWORTH

Art Body Creation
I must always have a clear image of the form of a work before I begin. Otherwise there is no impulse to create.
BARBARA HEPWORTH

Clear Form Impulse
My works are an imitation of my own past and present.
BARBARA HEPWORTH

Art Imitation Past
I found one had to do some work every day, even at midnight, because either you’re professional or you’re not.
BARBARA HEPWORTH

Found Midnight Professional
The sculptor must search with passionate intensity for the underlying principle of the organisation of mass and tension – the meaning of gesture and the structure of rhythm.
BARBARA HEPWORTH

Passionate Principles Sculpture

It is easy now to communicate with people through abstraction, and particularly so in sculpture. Since the whole body reacts to its presence, people become themselves a living part of the whole.

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It is easy now to communicate with people through abstraction, and particularly so in sculpture. Since the whole body reacts to its presence, people become themselves a living part of the whole.

Related Topics

Popular Authors

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