sculptor. In 1964-5 he exhibited 'primary structures', e.g. Cedar
Piece, piled-up timber, 6 ft (2 m.) high, for which Brancusi's
Endless Column (19З7-8) was 'the supreme inspiration'. From 1966 A.
started his 'scatter pieces on the floor, first using firebricks, e.g.
Lever (1966), 29 ft (8.8 m.) of 137 aligned, loose bricks, and then,
soon after, styrofoam bars and subsequently modular plates of copper,
aluminium, steel, iron, magnesium, zinc or lead, e.g. Twelfth Copper
Corner (1975) consisting of 78 plates of copper, each 19,5 sq. in.
(126 sq. cm.). These are his best-known works. Sometimes the flat plates
are rich in colour, according to the metal used, and may be assembled as
'particles' on the floor in а checkerboard pattern of systemic units. A.
defined sculpture as developing from 'form' to 'structure' and finally to
'place', i.e. the perception of the floorbound bricks or plates as
sculpture depending on the site where they are presented and whether a
particular sense of place is created.