slightest change in position of any one of the elements. The sense of precarious balance – emotional as well as physical tension – is already evident in Advance and Small Voice (both 1996). Ostensibly constructivist, like all of Warwick’s works – even when the forms become more organic, as in the later work mentioned – they quintessentialize human relational issues in abstract form.

Warwick himself suggest as much in such gloomy urban drawings as People and Places (1996), New York (1997), and Industrial Building (1998). Clearly he wants to make public monuments, but he is acutely aware of the difficulty in giving abstract modernist means human meaning. Splendor and Curvature (1997) indicates this. It contrasts a traditional monument, incorporating human figures, with a monumental abstract form that seems arrogantly inhuman, which no doubt enhances its physical presence. He solves the problem by grouping his forms as though they were members of the same family, as in Reach (1997), Reflections, and For Those (both 1998). Indeed, the figures in Reflections,

For Those, 1988
11' L x 4' W x 7' D
Rusted, Sandblasted and Stainless Steel
Skokie Sculpture Park, IL
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Enlargement
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