Model for Sculpture for Waterloo Bridge 1947

Editor: This is Barbara Hepworth’s "Model for Sculpture for Waterloo Bridge," housed at the Tate. I'm struck by the raw materiality of the stone itself. How did Hepworth's process of carving contribute to the sculpture’s meaning? Curator: Consider Hepworth's direct carving method. She engaged intimately with the stone, respecting its inherent qualities. This process, a physical dialogue with the material, contrasts with more industrial approaches, doesn’t it? It highlights the labor and skill involved in transforming raw material into art. Editor: It does! So, the act of making itself becomes a statement? Curator: Precisely. And consider how this handmade object exists within the context of mass production. It raises questions about value, labor, and the role of the artist in a changing society. What does it mean to create something by hand when so much is machine-made? Editor: That reframes the sculpture for me. It’s not just about form, but also about production. Curator: Absolutely. By focusing on the materials and the means of production, we see how Hepworth challenges traditional boundaries between high art and craft. Editor: I see it now! Thanks for highlighting the relationship between material, making and meaning.