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拍品专文
During the mid-1940s, Gabo began to employ nylon filaments in his sculpture, as well as other new and improved plastics that were becoming available. This stringing technique enabled him to define space in a linear manner, not as volume or mass, in which line functioned as direction and depth became the one form of space.
Gabo may have conceived the Construction in Space: Suspended, around 1957, based on a section in the lower part of Linear Construction in Space no. 4 (Nash and Merkert, no. 68.1-14), for which he had constructed a model two years earlier and was then in the process of making further versions. He produced the first version of the present sculpture as an independent work in 1965, and continued to make further variants into the 1970s, completing nineteen in all. The present variant is distinguished by Gabo's signature on one of the tips of the transverse element, and two small pieces of Perspex in the center, which the artist has painted yellow.
Gabo used wire in stringing some of the variants; in the present version, like most of the others, he employed nylon filament. "The nylon filament is reflective, so between the delicacy and openness of the stringing and the transparent and reflective materials, these works take on an intense luminosity. They are like instruments of light, as reflections play across the warping movement of their curves and project through the plastic end pieces. The stringing also creates a heightened sense of extension and duration, making palpable the element of time" (S.A. Nash, "Naum Gabo: Sculptures of Purity and Possibility, in op.cit, 1985, p.38).
Gabo may have conceived the Construction in Space: Suspended, around 1957, based on a section in the lower part of Linear Construction in Space no. 4 (Nash and Merkert, no. 68.1-14), for which he had constructed a model two years earlier and was then in the process of making further versions. He produced the first version of the present sculpture as an independent work in 1965, and continued to make further variants into the 1970s, completing nineteen in all. The present variant is distinguished by Gabo's signature on one of the tips of the transverse element, and two small pieces of Perspex in the center, which the artist has painted yellow.
Gabo used wire in stringing some of the variants; in the present version, like most of the others, he employed nylon filament. "The nylon filament is reflective, so between the delicacy and openness of the stringing and the transparent and reflective materials, these works take on an intense luminosity. They are like instruments of light, as reflections play across the warping movement of their curves and project through the plastic end pieces. The stringing also creates a heightened sense of extension and duration, making palpable the element of time" (S.A. Nash, "Naum Gabo: Sculptures of Purity and Possibility, in op.cit, 1985, p.38).