In his blog (04/04/2012), George Szirtes, who contributed an example of his poetry to Issue 1 of Interlitq, reflects on the work of sculptor John Davies at the Sainsbury Centre in London and finds that, “Davies’s figures are, on the whole, more abstracted, more lost in their sense of the transformative moment, than Segal’s monumental ordinary folk, than Pacheco’s doomed, wicked, or enchanted totems, and, unlike Marisol or Duane Hanson, they make no comment on popular life. There is usually an item or two of mysterious significance included with the naturalistic yet oddly frozen figure – a mask or a board, just enough to be unsettling without becoming stagy-sinister. The faces are intelligent but withdrawn behind a veil of something like suffering”
In his blog (04/04/2012), George Szirtes, the prize-winning Hungarian-born poet and translator who contributed an example of his poetry to Issue 1 of Interlitq reflects on the work of sculptor John Davies at the Sainsbury Centre in London and finds that, “Davies’s figures are, on the whole, more abstracted, more lost in their sense of the transformative moment, than Segal’s monumental ordinary folk, than Pacheco’s doomed, wicked, or enchanted totems, and, unlike Marisol or Duane Hanson, they make no comment on popular life. There is usually an item or two of mysterious significance included with the naturalistic yet oddly frozen figure – a mask or a board, just enough to be unsettling without becoming stagy-sinister. The faces are intelligent but withdrawn behind a veil of something like suffering”.
