Dimensions: object: 965 x 940 x 829 mm
Copyright: © Willem de Kooning Revocable Trust/ARS, NY and DACS, London 2014 | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: Here we have Willem de Kooning’s “Seated Figure on a Bench,” currently housed at the Tate. It’s… striking! The bronze is so roughly textured, and the figure is almost grotesque. What strikes you first about its composition? Curator: The interplay of mass and void is quite compelling. Note how the figure's exaggerated form, almost bursting beyond its implied boundaries, contrasts with the negative space carved out within the sculpture. This tension creates a dynamic visual rhythm. Editor: So, it's the push and pull that makes it interesting? Curator: Precisely. Consider the strategic placement of limbs and torso. Each component contributes to a structural integrity that challenges conventional notions of figurative representation. Editor: I see, it's like a puzzle of shapes. Thanks! Curator: Indeed. The sculpture invites us to deconstruct our assumptions about form and perception.
http://www.tate.org.uk/art/artworks/kooning-seated-figure-on-a-bench-t03162
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De Kooning began making sculpture in 1969, having previously discarded the idea much earlier in his career. This sculpture is one of his largest and was modelled in clay. Because his hands were too small to work the clay in the way he wanted, he wore two oversize pairs of workman's gloves, thereby ending up with fingers five or six inches long. The increase in size of his hands allowed him to work more broadly than he would have otherwise been able. De Kooning's interest in the expressiveness of the material falls within the tradition of sculpture beginning with Rodin and taken up by Giacometti. Gallery label, August 2004