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CARL WRIGHT — The sensual lines and forms of his sculpture surge, separate, and then rejoin in a continuous dance of design and shape.   Most of his sculptures have openings in them – some long and narrow and some circular.  The piercing in the stone serves two purposes.  First is to highlight the design by releasing the color and form to the daylight.  The second is far more devious.  The piercing points up the implied weightlessness, because of the light pouring through the sculpture.  The weightlessness is contrasted to the viewer’s knowledge that stone is a heavy medium thereby setting up a level of ambiguity. These openings also meld into their surroundings, showing fleeting images of people passing by and vignettes of the surrounding environment. 

The sculpture, particularly Secure, Nami 2, and Toorimichi, are about fluidity and implied – rather than stated - motion.  Many of his sculptures appear to be caught, as in a photograph, between the movement they had just performed and the next movement they are about to begin.  His sculpture in that sense shares many characteristics with Japanese design – understated beauty, grace, and timelessness – ergo many of his works have Japanese names.