Fallen Images 1974 - 1975

Curator: Oh, how serene. Hepworth's "Fallen Images" feels like a quiet meditation, doesn’t it? Editor: It's certainly…immaculate. The way those marble forms are arranged on that base; it's all so deliberately constructed. I am really curious about the quarrying and processing of the material. Curator: Right? It’s almost as if she’s captured a fleeting moment of cosmic harmony, a dance of celestial bodies. Those rounded forms, they feel ancient, primal. Editor: Marble itself has such a loaded history. A symbol of wealth and power, here employed by Hepworth. I wonder about the labor involved in achieving such smooth, seemingly effortless shapes. Curator: Perhaps she aimed to transcend that, to find a kind of pure, essential form. Something timeless. Editor: Timeless, maybe. But also undeniably rooted in specific material conditions. The tension between those two is fascinating. Curator: Absolutely. And that's why it resonates, isn’t it? It touches both the eternal and the everyday. Editor: Yes, the way that the material interacts with our perception and knowledge of its creation is crucial. It makes you think.