Table for Two, Paris 6

Starting point. Two women at the next table, in a café in the sixth: crossed conversations and bursts of laughter. Eight seconds of the take.

Codex applied. The Form Codex for Field Material, version 1.0, in two segments. A clear bowl, the only one the rule agrees to name, and a flatter bell, which holds beneath its own noise.

What the reading keeps. Both curves, however unequally assured. The rule always writes the curvature, even where it declines to read it; taking up the one that falls below the noise floor is a decision, and it belongs to the work.

From profile to volume. The two curves are not set one upon the other: they are interlaced in a single gesture, like two links embracing. The fuller one carries, the flatter one crosses, and they meet at the waist of the volume.

What the work is. A sculpture has no time in which to sound; what enters it is a profile, not a sequence of events. The rule is instituted between two domains that nothing brings together, and executed to the end. The gap between what was prescribed and what was carved belongs to the work.