Jonathan Prince Press

Many of his sculptures look as if a giant has come at it with a pickaxe and hacked a pice off. Inside the wound, shimmering stainless steel ripples like a slide of liquid mercury, winking in the light. It’s gorgeous, unpredictable, vulnerable and deeply alive in contrast to the rusty planes that barely contain it.

Almost all of my work through the years has looked at the boundaries between internal and external from or what we see on the surface but feel inside.  My liquid state series are the first works that I have done which seem to have no exterior skin – in other words – the forms are made from only internal material in a figurative sense.

From Ma Harding’s zebra-striped steel and pigment structure sed against the historic stable, to Rickey’s stainless steel, undulating four L’s to Erdman’s flowing, bronze “Continuum”, to Prince’s “Bore Block”, the sculptures are whimsical and thought-provoking.

In the low atrium hum, amid the polite acoustic din of a public New York City space, Jonathan Prince’s majestic sculpture installation Torn Steel, in the Sculpture Garden of the IBM Building – 590 Madison Avenue at 56th street- is a meditation in waiting…

James Balestrieri wrote: ” The contrast between the outer, oxidized surfaces, and the tears – areas of highly polished new steel – indicate the passage of time, neglect, forgetting. This is the Stonehenge of and advance civilization… Yet, strange to say, it’s the oxidization, the rust, if you will, that keeps the works for feeling unapproachable.

Sculptor Jonathan Prince’s Vestigial Block has been permanently installed at the recently-opened Eli and Edythe Broad Art Museum a Michigan State…

It does not really fit James Wines’ definition of “Plop art”, that dismissive term used to describe large abstract works placed in corporate settings. G2V seems more of a thoughtful sort of broken from, or a poem or dream from another time.

Not only does an aspiring sculptor relinquish the relative stability of a salaried job for the aleatory existence of an artist, but he must also wrestle with what Prince calls the “600-pound gorilla.” That “gorilla,” he explains, is the almost crushing weight of tradition: the influence of all the great artists whose work he knew so well and loved…