Abstract
In my series of saddle-motif sculptures (Figs 2 and 3), I deployed saddle-form modules in spiral progression around the longitudinal axis of each work. In creating these sculptures I was guided by a visual and kinaesthetic sense of their innermost logic, and as I proceeded with each I was surprised by the emergence of a topological fecundity, the integral subtlety of which I had entirely failed to perceive in its originating logic. In Spiral Minimalization II (Fig. 3), for instance, the ribbon edges not only spiral around the sculpture's periphery, but they also epicyclically spiral around an imaginary line defining the mean surface curvature of its peripheral circuits. I had foreseen the former effect
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