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Drawing Towards Sculpture
ICA/Lisson Gallery
Stuart Morgan
Page 2

Following Allington's ideas as they shift from two to three dimensions involves a movement from illusion to disillusion, from a state in which mundane considerations hold sway to actuality regarded as a fallen state. It is not only fallen; it is irredeemably fallen. But power to load objects with poetic associations can at least serve to suggest the heights from which they have plummeted. Drawings like The Source, sculptures like The Lyre of Orpheus, may hint that at the end of the historical passageway they open up lies a truth about inspiration — wrongly, because what is uncovered is a myth of inspiration. Myth does not explain; it holds its tongue. And only myth, perhaps, can encompass the extremes with which Allington has always chosen to work.

Stuart Morgan

1 For a fuller consideration of Allington's sculpture see Stuart Morgan "Edward Allington" Artforum November 1983. 91.
2 Quotations from Allington are from an unpublished interview with the author, July 1983. Demetrio Paparoni "The Spinning Top of Sinus" in La Trottola di Sirio, Siracusa: Centro D'Arte Contemporanea 1983, 11.