At daybreak I found on my sculptor's turntable a little mischievous form [a small plaster form of Impish Form, Arp made in 1949], alert and somewhat … - Jean Arp
" "At daybreak I found on my sculptor's turntable a little mischievous form [a small plaster form of Impish Form, Arp made in 1949], alert and somewhat obese, with a stomach like a lute. It seemed to me like an imp. I called it that. And all of a sudden one day this little character, this imp, through a Venezuelan medium, found itself to be the father of a giant [Arp enlarged it]. This giant son resembles its father like an egg resembles another egg, a fig another fig, a bell another bell.
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About Jean Arp
Jean/Hans Arp (16 September 1886 – 7 June 1966) was a German/French sculptor, painter, poet and a founding member of Dadaism. Later he engaged himself with the French surrealists, in Paris, but broke with them in 1931. (When Arp spoke in German he referred to himself as 'Hans' Arp; in French he referred to himself as 'Jean' Arp.)
Also Known As
Pen Names:
Arp, Hans Peter Wilhelm
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Arp, Hans Jean
Alternative Names:
Hans Arp
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Jean-Pierre-Guillaume Arp
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Hans Peter Wilhelm Arp
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Khans Arp
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Additional quotes by Jean Arp
Soon silence will have passed into legend. Man has turned his back on silence. Day after day he invents machines and devices that increase noise and distract humanity from the essence of life, contemplation, meditation.. ..tooting, howling, screeching, booming, crashing, whistling, grinding, and trilling bolster his ego. His anxiety subsides. His inhuman void spreads monstrously like a gray vegetation.
Ever since my childhood, I was haunted by the search for perfection. An imperfectly cut paper literally made me ill, I would guillotine it. My collages came undone, they became blistered. I then introduced death and decay in my compositions. I reacted by avoiding any precision from one day to another. Instead of cutting the paper, I would tear it with my hands.
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A deep and serene silence filled her structures composed of colors and surfaces. The exclusive use of horizontal and vertical rectangular planes in the work of art, the extreme simplification, exerted a decisive influence on my work. Here I found, stripped down to the limit, the essential elements of all earthly constructions: the bursting, upward surge of the lines and the planes toward the sky, the verticality of pure life, and the vast equilibrium, the sheer horizontality and expansiveness of dreamlike peace. Her work was for me a symbol of a divinely built 'house' which man in his vanity has ravaged and sullied.
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