Continui ty is one o f the of Butte rly’s pra most striking asp ects ctice. E masse, h xperienc er sculp ed en tures giv sion of a e the im single riv preser, conta less curr i n i n ents with g countin itself flowing f y et alway orward; o s r of a mu position, sical com complete wi harmonic s, rhythm th phrasing, and dyna —Glenn mics. Adamson
The relia nce on ba sic forms new in B is not utterly’s work, bu focus on t her circles a nd squar the shap es— es sculpture with which each begins— is a depa ture, and rpermits unlockin an infini g te tions from range of emoseemingl y fixed quantitie s. As she pu the que stion be ts it, comes, “how do you get a squ to feel,” t hereby m are ak the “bott om” as im ing por ant as th e vessel— tScale the “top”—it cal to i t i r out the g the right s c b u a p s p t i o o r t n s. —Nancy Findin ets the ly. It’s Princent Butter e of the piece. hal color s t z i h s l g l i a r u act s the umenta a n l o l e m w s s e f scale a t becom ost a vision o I . t r a p piece a phorical, alm Elena Sisto ta — and me tle but big. lit itself—