But at the beginning it was clear to me that concrete poetry was peculiarly suited for using in public settings. This was my idea, but of course I never really much got the chance to do it.
The same sort of thing happened in my dispute with the National Trust book: Follies: A National Trust Guide, which implied that the only pleasure you can get from Folly architecture is by calling the architect mad, and by laughing at the architecture.
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Comments on: "Ian Hamilton Finlay Quotes: The same sort of thing happened in my dispute with the National Trust..."
But you have to understand that I consider myself a very modest artist, or whatever, and not of importance really at all – it is quite embarrassing to me to be asked my opinion about things. I am only a wee Scottish poet on the outside of everything.
However, I don’t feel the world is looking over my shoulder when I am working – I never think about this at all. What I think about is trying to make my work pure, and if it is pure then it can be accessible. It is quite straight forward really.
|Birth:||28th October, 1925|
|Death:||27th March, 2006|
Ian Hamilton Finlay was born in Nassau, Bahamas. He was a Scottish poet, sculptor and gardener. He studied at Dollar Academy and Glasgow School of Art. His first collection of poetry, The Dancers Inherit the Party was published in 1960. In 1963, he published Rapel, his first collection of concrete poetry, and it was as a concrete poet that he first gained wide renown. Later, he began to compose poems to be inscribed into stone, incorporating these sculptures into the natural environment. This kind of 'poem-object' features in the garden Little Sparta that he and Sue Finlay created together in the Pentland Hills near Edinburgh. The five-acre garden also includes more conventional sculptures and two garden temples. In December 2004, in a poll conducted by Scotland on Sunday, a panel of fifty artists, gallery directors and arts professionals voted Little Sparta to be the most important work of Scottish art.
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