No.165. The Kiss. He was perplexed about the shadow that so often fell between his plan for a work and the way it would sometimes turn out. He felt he too often lost control of his projects. This sculpture, for example, was supposed to have been his homage to Brancusi's The Kiss (1916). By the time he'd finished it, however, the work looked more like a giant clothespin. Still, he thought, the high-compression clutching provided by the spring, forcing the two halves of the piece together, furnished something of an embrace-like energy. It would do.

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