Art at the moment is thrilling. The work of the artist today springs from innate impulses towards life, towards growth - impulses whose rhythms and s… - Barbara Hepworth

Saw a magnificent Koros – tall, fierce and passionate bigger than life size – in the Museum. A heavenly work – the backs and buttocks in relation to the hip and waist – an inspiration. I thought the fragment of leg and calf (attached below the knee) was falsely attributed.

Sculpture is, in the twentieth century, a wide field of experience, with many facets of symbol and material and individual calligraphy. But in all these varied and exciting extensions of our experience we always come back tot the fact that we are human beings of such and such a size, biologically the same as primitive man, and that it is through drawing and observing, or observing and drawing, that we equate our bodies with our landscape.

A chance remark by Ardini, an Italian master carver whom I met there [in Rome], that 'marble changes colour under different people's hands' made me decide immediately that it was not dominance which one had to attain over material, but an understanding, almost a kind of persuasion, and above all greater co-ordination between head and hand. This thought has recurred again and again ever since - and has developed my greatest interests; the reason why people both move differently and stand differently in direct response to changed surroundings; the unconscious grouping of people when they are working together, producing a spatial movement which approximates to the structure of spirals in shells or rhythms in crystal structure; the meaning of the spaces between forms, or the shape of the displacement of forms in space, which in themselves have a most precise significance. All these responses spring from a factual and tactile approach to the object.