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拍品專文
This cast is the sixth in an edition of 7.
Andrew Lambirth comments on Jones's sculpture, 'In 1992, I asked Allen Jones how the need to make a sculpture emerged, as a separate urgency from, for instance, making a painting. 'In the activity of painting I sometimes come across a possibility that I think would lend itself to three dimensions. That's one way to start. Or I might do some little sketches, but usually the sculpture grows out of the act of cutting with scissors and bending paper'. Jones literally cuts corners with his scissors, refining and distilling form until it reaches the point where it communicates only its essense. He adopts the same strategy in sculpture as he does in painting: stripping away the extraneous. And in sculpture he can take the reduction of form further while keeping it legible. 'A lot of interest and excitement comes from the disjunctions of anatomy which couldn't happen in a drawing,' says Jones. 'The disjunctions make the descriptive elements have a vitality' (see Allen Jones: Works, London, 2005, p. 119).
Andrew Lambirth comments on Jones's sculpture, 'In 1992, I asked Allen Jones how the need to make a sculpture emerged, as a separate urgency from, for instance, making a painting. 'In the activity of painting I sometimes come across a possibility that I think would lend itself to three dimensions. That's one way to start. Or I might do some little sketches, but usually the sculpture grows out of the act of cutting with scissors and bending paper'. Jones literally cuts corners with his scissors, refining and distilling form until it reaches the point where it communicates only its essense. He adopts the same strategy in sculpture as he does in painting: stripping away the extraneous. And in sculpture he can take the reduction of form further while keeping it legible. 'A lot of interest and excitement comes from the disjunctions of anatomy which couldn't happen in a drawing,' says Jones. 'The disjunctions make the descriptive elements have a vitality' (see Allen Jones: Works, London, 2005, p. 119).