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Sculpture and haptic deficit in the time of COVID-19

ed than it was when the idea for

this exhibition was dreamt up in 2019”, said artist and writer

Edmund de Waal during an interview on BBC Radio 4 Today

programme on May 19, 2021. “We have gone from wanting

to touch things to needing desperately to touch.” At a

studio briefing in February 2020, a month before This Living

Hand—the exhibition curated by de Waal—was scheduled

to open, few could have imagined how dramatically a

nascent viral pandemic would change the world. Opening

after a delay of 14 months, the curatorial focus on the

sculptor Henry Moore’s drawings of hands, the primacy of

touch in experiencing sculpture, and in developing haptic

knowledge, resonates more deeply than anyone could have

anticipated.

Since the pandemic began, our wariness about hands

transmitting the virus, and our adoption of more frequent

and rigorous handwashing and hand sanitisation regimens,

have heightened our consciousness of them. Our own hands

stilled, we were moved by poignant media images of gloved

intensive care staff lifting and tenderly repositioning the

comatose bodies of artificially ventilated patients, and of

old residents in care homes and visiting family members

pressing palms and splayed fingers against windowpanes,

striving to touch by glass proxy.

Moore was interested in how hands function and their

capacity for expressing human emotion. He drew them

throughout his long career, his own hands as well as other

peoples’, and copied earlier artists’ drawings of hands

to comprehend their iconography. Of the 17 drawings

by Moore selected by de Waal for display, five depict the

sculptor’s own hands, including one in which he grasps a

pebble. A drawing of two pairs of hands demonstrates that a

ball of wool is held tightly, whereas a skein is looped loosely

between outstretched hands. Three drawings depict the

arthritic hands of the Nobel Prize winner Dorothy Hodgkin

who, when the Royal Society commissioned Moore to

make her portrait, modestly stipulated that he draw her

hands, which had been responsible for intricate X-ray

crystallography.

Moore amassed a large collection of natural and man-

made objects, selected either on scientific or aesthetic

grounds, as an ‘inventory of forms’, which he handled

frequently to gauge their differing weights, volumes, and

textures. He habitually rearranged them on tables and other

surfaces at his family home and in his adjacent studios,

and was delighted if guests handled and appreciated

them. “My father always had a pebble in his right hand,

and he turned it over with his thumb and his forefinger’,

said Mary Moore, the sculptor’s daughter, during the Today

programme interview with de Waal.“He was internalising

form and I think that surface is the key to form for all of us.”

Representative objects from this collection, selected by

de Waal, are arranged in a large, glazed vitrine. Neither they

nor Moore’s drawings can be touched, although they can

be inspected closely. Unusually within a gallery however, de

Waal invites people to touch three of Moore’s sculptures,

and discern textural differences in their surfaces: Mother and

Child (1978), carved from stalactite stone; and two bronze

casts, Reclining Figure: Hand (1979) and King and Queen

(1952–53, cast 1985). As usual, people can also carefully

touch, but not climb, stand, or sit on 23 of his sculptures,

displayed in the extensive grounds.

In addition to curating the exhibition, de Waal has lent stone

benches of various lengths, and positioned them within the

gallery, to enable people to pause comfortably and reflect

on Moore’s sculptures and objects from his collection. The

benches were carved from Hornton stone to de Waal’s designs.

“The benches are carved and polished so that there are

different textures to discover…” de WaaI is quoted as having

said in a New Art Centre press release issued on July 1, 2020.

“I have called them tacet. Silence, rest.” Especially for the

exhibition, he has created a stone washbasin in the form of

a Japanese tsukabai, supplied with cold running water via an

ingenious arrangement of bamboo pipes. Having already

completed the now customary COVID rite of hand-sanitisation

at the main entrance, visitors can pause at the basin and

ritually cleanse their hands before entering the exhibition.

“My father was extremely tactile, and I think that pre-

eminently he understood that touch has a deep psychological

and emotional content”, said Mary Moore. “He knew how to

convey in his sculpture that touch is instinctive.” Regarding

haptic knowledge, Moore has described his realisation,

while modelling the back of a mature woman (Seated Figure,

1957), that he was unconsciously reproducing the shape

of his own mother’s back which, in his boyhood winters,

she had often asked him to massage with liniment, to ease

her rheumatic pain.

Colin Martin

Exhibition

Sculpture and haptic deficit in the time of COVID-19

Dorothy Hodgkin’s Hands, 1978. Sarah Mercer.

Reproduced by permission of the Henry Moore Foundation

Published Online

September 8, 2021

https://doi.org/10.1016/

S1474-4422(21)00299-4

This Living Hand: Edmund de Waal

presents Henry Moore

Henry Moore Studios & Gardens,

Perry Green, Much Hadham,

Hertfordshire, UK

May 19 to Oct 31, 2021

www.henry-moore.org/visit/

henry-moore-studios-gardens

The Artist’s Hands, c.1974. Henry Moore Archive.