Page 19 - Richard Kenton Webb: Vol.5

RKW When I started making the sculptures for my Colour Grammar,
it was a moment of revelation. They were identical to my thought.
They scared me, because it was as though I was looking at my ideas
solidified and made real. In handling materials it is as though I am
looking into the of colour and coming into a deeper, more truthful
understanding of it.I see my role as pulling you out of the head and
into the body and senses.

RD I find that really interesting Richard, because there have been times
in our conversations when you seem to be pulling me out of my body
into your head. You read voraciously, you fix on a subject or author and
have to read everything about them. This studio is filled with books on
litera ture, philosophy, theology, science. So often, as we stand in front
of a painting, you proceed to tell me in great detail what the work is
about, as though these wonderful works of visual knowledge and
embodied encounter are illustrations of these words and the ideas
that line your book shelves and fill your thoughts. But what I’ve come
to realise over the years is that these words don’t really come first, they
are the reflec tions and thoughts that emerge from the material you
have been work ing with. You posted videos from your time at the Albers
Foundation when you were making these drawings, that described