There’s a reverent kind of hush at Melbourne’s Heide Museum of Modern Art. Between the grey walls, Barbara Hepworth’s modernist sculptures are artfully arranged. Attenders wind their way through the maze, backdropped by black and white photographs of Hepworth at work. Occasionally, a comment will cut through the silence. Hepworth’s famous stringed sculptures, one woman observes to her friend, cast shadows on the walls, but in the shadows, only the “eye” is visible – the strings disappear. What is seen in the physical space, and what is seen as silhouette, are two separate forms.
