Henry Moore: Sculptural Process and Public Identity

ISBN 978-1-84976-391-2

Henry Moore, ‘Statement for Unit One’

Herbert Read (ed.), Unit One: The Modern Movement in English Architecture, London 1934, pp.29–30.

Unit One
Each sculptor through his past experience, through observation of natural laws, through criticism of his own work and other sculpture, through his character and psychological make-up, and according to his stage of development, finds that certain qualities in sculpture become of fundamental importance to him. For me these qualities are:
Truth to material Every material has its own individual qualities. It is only when the sculptor works direct, when there is an active relationship with his material, that the material can take its part in the shaping of an idea. Stone, for example, is hard and concentrated and should not be falsified to look like soft flesh – it should not be forced beyond its constructive build to a point of weakness. It should keep its hard tense stoniness.
Full three-dimensional realisation. Complete sculptural expression is form in its full spatial reality.
Only to make relief shapes on the surface of the block is to forego the full power of expression of sculpture. When the sculptor understands his material, has a knowledge of its possibilities and its constructive build, it is possible to keep within its limitations and yet turn an inert block into a composition which has a full form-existence, with masses of varied size and section conceived in their air-surrounded entirety, stressing and straining, thrusting and opposing each other in spatial relationship, – being static, in the sense that the centre of gravity lies within the base (and does not seem to be falling over or moving off its base) – and yet having an alert dynamic tension between its parts.
Sculpture fully in the round has no two points of view alike. The desire for form completely realised is connected with asymmetry. For a Symmetrical mass being the same from both sides cannot have more than half the number of different points of view possessed by a non-symmetrical mass.
Asymmetry is connected also with the desire for the organic (which I have) rather than the geometric.
Organic forms though they may be symmetrical in their main disposition, in their reaction to environment, growth and gravity, lose their perfect symmetry.
Observation of Natural Objects. The observation of nature is part of an artist's life, it enlarges his form-knowledge, keeps him fresh and from working only by formula, and feeds inspiration.
The human figure is what interests me most deeply, but I have found principles of form and rhythm from the study of natural objects such as pebbles, rocks, bones, trees, plants etc.
Pebbles and rocks show Nature's way of working stone. Smooth, sea-worn pebbles show the wearing away, rubbed treatment of stone and principles of asymmetry.
Rocks show the hacked, hewn treatment of stone, and have a jagged nervous block rhythm.
Bones have marvellous structural strength and hard tenseness of form, subtle transition of one shape into the next and great variety in section.
Trees (tree trunks) show principles of growth and strength of joints, with easy passing of one section into the next. They give the ideal for wood sculpture, upward twisting movement.
Shells show Nature's hard but hollow form (metal sculpture) and have a wonderful completeness of single shape.
There is in Nature a limitless variety of shapes and rhythms (and the telescope and microscope have enlarged the field) from which the sculptor can enlarge his form-knowledge experience.
But besides formal qualities there are qualities of vision and expression:
Vision and expression. My aim in work is to combine as intensely as possible the abstract principles of sculpture along with the realisation of my idea.
All art is an abstraction to some degree: (in sculpture the material alone forces one away from pure representation and towards abstraction).
Abstract qualities of design are essential to the value of a work, but to me of equal importance is the psychological, human element. If both abstract and human elements are welded together in a work, it must have a fuller, deeper meaning.
Vitality and Power of expression. For me a work must first have a vitality of its own. I do not mean a reflection of the vitality of life, of movement, physical action, frisking, dancing figures and so on, but that a work can have in it a pent-up energy, an intense life of its own, independent of the object it may represent. When a work has this powerful vitality we do not connect the word Beauty with it.
Beauty, in the later Greek or Renaissance sense, is not the aim in my sculpture.
Between beauty of expression and power of expression there is a difference of function. The first aims at pleasing the senses, the second has a spiritual vitality which for me is more moving and goes deeper than the senses.
Because a work does not aim at reproducing natural appearances it is not, therefore, an escape from life – but may be a penetration into reality, not a sedative or drug, not just the exercise of good taste, the provision of pleasant shapes and colours in a pleasing combination, not a decoration to life, but an expression of the significance of life, a stimulation to greater effort in living.

How to cite

Henry Moore, ‘Statement for Unit One’, in Herbert Read (ed.), Unit One: The Modern Movement in English Architecture, London 1934, pp.29–30, in Henry Moore: Sculptural Process and Public Identity, Tate Research Publication, 2015, https://www.tate.org.uk/art/research-publications/henry-moore/henry-moore-statement-for-unit-one-r1175898, accessed 21 February 2018.