The planes of Henry Moore’s sculptures convey a plasmic organicism. They seem to curve around you as you approach and to spin like a barrel on an axle as you move away. The skill in controlling our impression of these planes is the sculptor’s manoeuvre. It distinguishes itself from the two-dimensional mark-making of the draughtsman as it takes place within the real world of things.
I admire Moore’s drawings: the wire-wool sheep and war-weary sleepers on the London Underground. But until I visited his estate at Perry Green last week I hadn’t thought about a connection between the textures he inscribed on his sculptures with cheese-grater-like implements and his significant use of another two-dimensional art: photography. [click here to continue reading]