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拍品专文
Frances Archipenko Gray has confirmed the authenticity of this sculpture.
In Walking, Alexander Archipenko's use of "absence" in sculptural figuration is exemplified, as he removes substance from or makes holes in the body. The interchanging use of concave and convex forms in this work creates an optical illusion. Light reflected off of the interchanged blocks of solids and voids results in the dynamic effect of the figure advancing and receding simultaneously. The use of light is imperative in the understanding of this human form since lighting creates shadows that highlight the void, which, in turn, creates the effect of movement and life. The newly redefined human figure appeals to be walking yet standing still.
Influenced by Cubism, Archipenko is toying the with notion that what is removed from an object has equal importance to what is not removed, especially true once the figure becomes integrated with the space it displaces. "One of the concepts of Cubism is that solid and void are of equal value and can interpenetrate and even substitute one another" (K.J. Michaelsen and N. Guralnik, Alexander Archipenko, A Centennial Tribute, Washington, D.C., 1986, p. 24). Archipenko introduced the void as a positive element in sculpture, helping to change the traditional concept of sculptural form in the early 20th century.
In Walking, Alexander Archipenko's use of "absence" in sculptural figuration is exemplified, as he removes substance from or makes holes in the body. The interchanging use of concave and convex forms in this work creates an optical illusion. Light reflected off of the interchanged blocks of solids and voids results in the dynamic effect of the figure advancing and receding simultaneously. The use of light is imperative in the understanding of this human form since lighting creates shadows that highlight the void, which, in turn, creates the effect of movement and life. The newly redefined human figure appeals to be walking yet standing still.
Influenced by Cubism, Archipenko is toying the with notion that what is removed from an object has equal importance to what is not removed, especially true once the figure becomes integrated with the space it displaces. "One of the concepts of Cubism is that solid and void are of equal value and can interpenetrate and even substitute one another" (K.J. Michaelsen and N. Guralnik, Alexander Archipenko, A Centennial Tribute, Washington, D.C., 1986, p. 24). Archipenko introduced the void as a positive element in sculpture, helping to change the traditional concept of sculptural form in the early 20th century.