Naum Gabo‘s work explores space without needing to fill it with mass. Wonderful and delicate forms that use natural forces of wind or water (and sometimes motors) to express the rythmic and chaotic processes of life. There are clear parallels between some of Gabo’s 3d work and Desmond Paul Henry’s 2d machine art.
The EA and a lot of Naum Gabo’s work is concerned with time as a sculptural agent, a medium which is to be used and represented in the artefact.
Extracts from Wikipedia:
The essence of Gabo’s art was the exploration of space, which he believed could be done without having to depict mass. His earliest constructions such as Head No.2 were formal experiments in depicting the volume of a figure without carrying its mass. Gabo’s other concern as described in the Realist Manifesto was that art needed to exist actively in four dimensions including time.
Caroline Collier, an authority on Gabo’s work, said, “The real stuff of Gabo’s art is not his physical materials, but his perception of space, time and movement. In the calmness at the ‘still centre’ of even his smallest works, we sense the vastness of space, the enormity of his conception, time as continuous growth.” In fact, the element of movement in Gabo’s sculpture is connected to a strong rhythm, more implicit and deeper than the chaotic patterns of life itself. The exactness of form leads the viewer to imagine journeying into, through, over and around his sculptures.