Earlier this year I visited Barbara Hepworth’s Pelagos 1946 at Tate Britain. Carved from elm and resting on a square base of oak, the sculpture is similar in size to a basketball.
In contrast to its exterior, which is polished to a nutbrown sheen, the inner plane is painted a pale matt blue redolent of calm seas and cloudless skies. Lengths of string connect its inner and outer edges. Woven through holes in the work’s swooping wavelike arms, they create a focal point of fraught connection in an otherwise continuous and indivisible form.
This is an excerpt of an article written for Tate Etc.
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