For more than 30 years, Mark di Suvero has been performing the alchemy of transforming discarded metal and cast-off industrial material into configurations of elegance and strength that stand in the company of David Smith and Richard Serra to define American industrialized sculpture.
In the mobile sculpture Ring, 1983, the artist works in just-over human scale, abolishing the "do not touch" rule of art, and inviting the viewer to engage the work, to physically and poetically put it in motion. Ring not only appears to simulate human posture and gesture, but also calls to mind the bold, sweeping gestures of Abstract Expressionist painters such as de Kooning and Kline. Di Suvero once stated, '"my sculpture is painting in three dimensions"' (J. K. Monte, Mark di Suvero, New York , p. 13).
There is clear and present optimism to this work. Ring dances, seemingly in celebration of its transformation from wreckage to art. Mark di Suvero, whose personal optimism triumphed over the near fatal accident that left him in a wheelchair in 1960, explained the goal of his art is "'to give us the energy of hope, the embrace of paradox, the overcoming of despair.'" (I. Sandler, Mark di Suvero: Storm King Art Center, New York 1995, p. 45).