AGNES KEIL

and drift apart, dynamic space and rhythm emerges, gravitation arises, distortion, a dance, and each piece of art develops its own sound.
This idea, to develop body parts as archetypes into sculptures, had been going through my mind for years and what finally triggered it off was a commission from the Fondation CARRE D`Art. My very first piece became the monumental steel sculpture 'Chumm' for the Ile-Art sculpture park in Malans, France.
I devised the 12 basic body formations from this idea. I developed detailed drawings from small three-dimensional PAPIER - MACHE models. These were digitised, then enlarged into figures up to 4 metres, printed out and repeatedly revised in detail.

In the series of work shown here in this book, there are many sketches with associative references to my life.
The first nude drawings during my training: I grab single body parts, carry on drawing them in an isolated, abstract way. I am fascinated by the power of shape which can be stretched into three-dimensions in my mind and in sculpting. On paper, however, it becomes a curve, a profile, a definition of the boundaries.
At acting school, several years earlier: short pieces and scenes triggered off by fragmentary body sensations. Scenes in abandoned derelict industrial estates, with bodies placed in there as clearly defined acting shapes.
The dance icon Palucca visiting a dance class: me as a young girl - she stands there, moves her hand, no music, just the hand opening. Yet it is as if the room