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" "The admission of approximation is necessary, for one cannot hope to be absolute in his precision. He cannot see, or even conceive of a thing from all possible points of view, simultaneously. While he perfects the front, the side, or rear may be weak; then while he strengthens the other facade he may be weakening that originally the best. There is no end to this. To finish the work he must approximate.
(August 22, 1898 – November 11, 1976) was an American sculptor known as the originator of the mobile, a type of Kinetic art made with delicately balanced or suspended components which move in response to motor power or air currents.
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Question, Léger once called you a realist. How do you feel about this?
Yes, I think I am a realist. Because I make what I see. It's only the problem of seeing it. If you can imagine a thing, conjure it up in space - then you can make it, and tout de suite you're a realist. The universe is real but you can't see it. You have to imagine it. Once you imagine it, you can be realistic about reproducing it.
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Question: Which has influenced you more, nature or modern machinery?
I haven't really touched machinery except for a few elementary mechanisms like levers and balances. You see nature and then you try to emulate it. But, of course, when I met Mondrian [Paris, 1930] I went home and tried to paint [for a while]. The basis of everything for me is the universe. The simplest forms in the universe are the sphere and the circle. I represent them by disks and then I vary them. My whole theory about art is the disparity that exists between form, masses and movement. Even my triangles are spheres, but they are spheres of a different shape.