stainless steel and black-painted wood on black formica on wooden support
Alastair Grieve, Constructed Art in England After the Second World War: A Neglected Avant-Garde, Yale University Press, New Haven & London 2005, no.272, illustrated, p.162
The constructions such as I seek to make are based on implications of movement and infinity by positive and negative means (The artist, statement in Structure, Amsterdam, 1962).
Martin’s first relief was Columbarium (Estate of the Artist), made in 1951, and throughout the decade she produced a coherent body of works that used systems of proportional growth, such as the Fibonacci series, as their underlying basis. In the early 1960s, she created a number of works that use the basic unit of the cube as their prime element, and in the present relief, the cube is divided diagonally along the hypotenuse, this side being faced with stainless steel to give a reflective surface.
By creating a sequence of progressive permutations on this consistent base form, the relief develops both a structural harmony, but by the incorporation of the reflections on the steel into the design, the work combines this mathematical synchronization with a more random emphasis of light and shadow that depends entirely on the ambient light conditions.
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