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Three Poems for Barbara Hepworth

Rupert Loydell


These poems were first published in Four Poems for Barbara Hepworth, a booklet published by the author in a very short print run as a gift for the audience at a reading for Hepworth LIVE! on the 9 April 2016 at the Barbara Hepworth Museum and Sculpture Gardens in St. Ives.
 

 

 

SCULPTURE FOR A MODERN WORLD

sophisticated understanding
self-imposed constraints
discover the essence
play with space and time
space and time must be
sculpture must be touched
to be truly experienced

explore virtual spaces
distances and topographies
discover the sculptures
discover the trail behind
echoing the eclectic design
a projection of forces
translated into a single form

a projection of forces
towards a particular end
exhibition spaces
resonate with profiles
weaving their spell
self-imposed constraints
sophisticated understanding

play with language
discover the essence
how the image should be
multilayered language
multilayered structures
the carving is large
allow your mind to drift

the blue marble
came out to drift
the blue marble
came out black
long time lines trail behind
echoing a faith integrated
in sculptural realisation

several levels of meaning
in your writing
a chisel of light everywhere
words weaving their spell
capturing the forms
words making up
your own textures and angles

your own deliberate dialogue
more like a projection of forces
several levels of meaning
see the relationship between
a work and its image
see the sculpture alive
in relation to nature

confirm the patterns of the world
find words for what she had
find words for what she dreamed
the beauty and perfection of forms
a particular abstract beauty
the images should be
the end of the story


 

 

 

A TRIPTYCH FOR BARBARA HEPWORTH
(Tate Britain, autumn 2015)

‘They’ve stolen the moon
The magic is gone’
– David Sylvian, ‘Midnight Sun’


 


1. Wounded Bird

The man who looked like a crow
flying along in a fringed black shawl
is accompanying a child on crutches.

Together they circle small maquettes,
models where wood and plaster
have been freed and given flight,

having an endless discussion
about what they find if they look,
and how – and why – it was made.


2. ‘Conversations with Magic Stones’

The rock was silent
but sparkled in the sun.

I sang to it,
cajoled it,
commanded it.

The rock was silent
but glinted in the rain.

I spoke to it sideways,
whispered endearments,
pleaded and whined.

The rock was silent,
its magic stilled.

I walked away
and left it
to its own devices.

The rock called out
or so I heard.

I didn’t go back.
Magic can never be
secondhand.


3. Last Day of Show

There are a hundred visitors
being told how to look
and what to look at.

The stones are lifeless,
have been overwritten about,
theorised and conceptualised

until it is hard to find
their beauty, see the poise
and balance Hepworth made.

The stones have been boxed
in plastic, labelled with words
and ordered, spirit broken.

Give them back to the wind
and sea and sky and waves.
It is where everything is.



 



INSIDE OUT: BARBARA HEPWORTH
from a photo by Cornel Lucas

The sculptor pulls open her heart
and stares at you from inside.

She is silent and out of focus;
only the work speaks for her

and to us. If you do not hear
the stone or wood singing

then sit and learn to listen
in her garden or gallery.


 



Poems © Rupert M Loydell Photo © Susan Loydell