The “Verb list” established a logic whereby the process that constituted a sculpture remains transparent. Anyone can reconstruct the process of the making by viewing the residue. The sculptures resulting from the “Verb list” introduced two aspects of time: the condensed time of their making and the durational time of their viewing.
Both tasks and materials were ordinary. I was tearing lead in place, lifting rubber in place, rolling and propping lead sheets, and melting lead and splashing it against the juncture between wall and floor. The activities were experimental and playful. It wasn’t the question of how to accomplish this or that, nor was it the question of making it up as I went along: it was rather a free-floating combination of both.
I cannot overemphasize the need for play, for in play you don’t extract yourself from your activity. In order to invent I felt it necessary to make art a practice of affirmative play or conceptual experimentation. The ambiguity of play and its transitional character provides suspension of belief whereby a shift in direction is possible when faced with a complexity that you don’t understand. Free from skepticism, play relinquishes control. Play allows one to accept discontinuities and continuities; it also allows one to happen upon solutions or invent them. However, even in play the task must be carried out with conviction. It’s how we do what we do that confers meaning on what we have done.