Over the last few weeks I have encountered a rather odd collection of sculptural things: the postwar ceramic sculpture of Lucio Fontana and Fausto Melotti bursting with dynamically
glazed and roughly handled surfaces, currently on view at the Nasher Sculpture
Center; The Age of Innocence, a victorian bust in three different materials by the English sculptor Alfred Drury at the Henry Moore Institute; a visit to Henry Moore's house, studios, and now foundation at Perry Green, and most recently what I can only describe as a wonderfully insane lecture by the contemporary sculptor Thomas Houseago, which involved an increasingly drunk, cursing artist saying some surprisingly sincere, profound things about sculpture.
Pour the remaining
glaze into the
center of the cake and, working quickly, spread it
over the top of the cake and around the sides, working the
glaze as little as possible.