Four squares in the Geviert 1969

George Rickey put these squares in motion, probably sometime in the late twentieth century. Look at how the surfaces catch the light – or how they seem to change with the light. This is what happens when you let the process, in this case the wind, do some of the work. The muted grey of the metal lends a certain dignity, a seriousness to the piece. But there’s also something playful about the way the squares seem to dance, in their very quiet way. The scratches and imperfections on the surface of the metal remind us that art isn’t about perfection. It’s about embracing the real, the raw, the imperfect. This piece reminds me of Calder’s mobiles, but with a more minimal, industrial feel. It’s like a conversation between two artists, each exploring movement and balance in their own way. Art is an ongoing dialogue, with each artist building on the ideas of those who came before.