Over a period of ten years or more, I compiled several thousand drawings (the majority of which are permanently housed in the archives of the Power Institute Library, Department of Fine Arts, University of Sydney) that were intended to analyse the formal relations inherent in the sculptures and other art works of many ancient cultures. The idea behind this extensive study was to build-up a visual "library" that I could draw on when making my own sculptures. The complexity behind the apparent simplicity of many of these ancient works continues to impress me greatly, even though many years have passed since I took the time to analyse them in any way approaching a rigorous fashion.
The crayon drawings allowed me to grasp the "essential image" of each work, and the spray drawings gave me a sense of the complex relationships of the respective forms that underpinned each work's apparent "simplicity." A curious side-effect of this formal study was a growing awareness on my part of the deep spiritual and emotive echoes that resonated in all of these works. It is precisely these echoes, more than anything else I believe, that give these ancient works their great and timeless beauty. Echoes, I might add, that continue to sound in my mind to this very day.
South American Study, Conté crayon on paper. 11.7 x 8.3 inches 1975
African Study, Conté crayon on paper. 11.7 x 8.3 inches 1979
Prehistoric Study, Conté crayon on paper. 11.7 x 8.3 inches 1976
Mayan Study, Paper assemblage & spray paint. 11.7 x 8.3 inches 1980
Oceanic Study, Paper assemblage & spray paint. 11.7 x 8.3 inches 1980
Central American Study, Paper assemblage & spray paint. 11.7 x 8.3 inches 1980