PRINT October 1970

The Sculpture of Peter Alexander

How can anything ever be really and truly present to us, since its synthesis is never a completed process, and since I can always expect to see it break down and fall to the status of a mere illusion? Yet there is something and not nothing.

—M. Merleau-Ponty1

MY FIRST REACTIONS TO Peter Alexander’s sculpture were admittedly distrustful; because of the residue of Calvinism within me that demands that art works show some manual revision, I had doubts about elegant pieces of plastic which, toying with optics, seemed too much the automatic result of a simple chemical-physical process (casting polyester resin). I have changed my mind; Peter Alexander’s work of the last two years seems to me to contain a significant contribution to the purely visual properties of sculpture and, beyond that, a noticeable felt statement concerning the nature of the object in art.

There is a bit about Alexander,

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