A chance remark by Ardini, an Italian master carver whom I met there [in Rome], that 'marble changes colour under different people's hands' made me decide immediately that it was not dominance which one had to attain over material, but an understanding, almost a kind of persuasion, and above all greater co-ordination between head and hand. This thought has recurred again and again ever since - and has developed my greatest interests; the reason why people both move differently and stand differently in direct response to changed surroundings; the unconscious grouping of people when they are working together, producing a spatial movement which approximates to the structure of spirals in shells or rhythms in crystal structure; the meaning of the spaces between forms, or the shape of the displacement of forms in space, which in themselves have a most precise significance. All these responses spring from a factual and tactile approach to the object.

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "A chance remark by Ardini, an Italian master carver whom I met there [in Rome], that 'marble changes colour under different people's hands' made me decide immediately that it was not dominance which one had to attain over material, but an understanding, almost a kind of persuasion, and above all greater co-ordination between head and hand. This thought has recurred again and again ever since - and has developed my greatest interests; the reason why people both move differently and stand differently in direct response to changed surroundings; the unconscious grouping of people when they are working together, producing a spatial movement which approximates to the structure of spirals in shells or rhythms in crystal structure; the meaning of the spaces between forms, or the shape of the displacement of forms in space, which in themselves have a most precise significance. All these responses spring from a factual and tactile approach to the object." in the context of "Extract from Barbara Hepworth: Carvings and Drawings, (from Chapter 1: The excitement of discovering the nature of carving, 1903-1930), with an introduction by Herbert Read, London, 1952" to mean that wisdom is timeless.