This was important for it’s sheer sculptural economy and stunning visual succinctness and has continued to be an inspiration for me since. It was during this period I discovered that steelmesh could be modelled to a degree of sophistication - you can imagine the excitement, when I merged the object with it’s diaphanous screen so that they became one statement. In my own work I was composing figurative sculptures in space frame structures (still present today), and unlike conventional compositions, I was screening off the object with semi-opaque materials such as: frosted glass and plastics, cloth and fabrics and, of course, steel-mesh. At the time, I had no idea that this observation would eventually be the basic ‘armature’ of my future work and career. I thought these unsophisticated armatures were completely unappreciated as a potential art form and decided to reinterpret the guts of the sculpture, as I saw it - a strong and important statement in it’s own right. One of the reasons for steelmesh in art schools is because it is a traditional material for armature (the structure used for plaster sculpture where chicken-wire composes the basic skeletal form). I discovered the particular properties of wire-mesh in 1977 at art school, at that time, I was working with more conventional solid materials - such as plaster, wood, bronze, stone and fibreglass casting. When did you first start working in wire-mesh, what year?
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