pencil top of page Armature sculpture – modelling – building up – starts with space & make/form (solids in space) wire, linear,; c.l. Solid sculpture – carving – cutting down – starts with the surface (s of crossed out)/but can eventually invade the block & make space – (But to make space crossed out) But the line of least resistance (& the crossed out) in direct carving is/to remain at surfaces & (never to make crossed out) to slice pieces off, to remain/relief carving, without an inner structure – For forms to have an/(. . .) real three dimentional (sic) existence they must have three dimentional freedom &/(room to added) breath(ing space crossed out), one form should not be (half added) buried in (to another crossed out) the form next/to it . . . . The (space crossed out) distances between forms, (. . . as much a con considered –/the spaces crossed out) the spaces between forms/must be as much a concern as the forms themselves, so that/the form & space become inseparable./(To have space without form (is crossed out) That is to) In my last reclining bronze/figure the (I tried to make added) the spaces (between & crossed out) enclosed (by crossed out) & made between the forms are as/much the sculpture as the forms themselves –; You can (pull up crossed out) dangle a piece of ravelled string in the air & it will have an (intrigueing (sic) added)/accidental spacial (sic) interest – but there will be lacking a form structure/in d –; foot of page (You? can crossed out) could (put a crossed out) group (of people together crossed out) a number of sculptures together (&/they would have a crossed out) in a more or less satisfactory way – but if those sculptures/had been made separately the spaces between them could never be/(. . . & crossed out) part of the sculpture – (but figures made together crossed out) to