Everything about Peter Shelton (pristine studio, stunning preparatory drawings, conversation sprinkled with Latin terms) suggests a combination of obsessive technician and daring poet willing to risk it all for an idea. (A case in point, his controversial 2009 commission for the Los Angeles Police Department [LAPD] headquarters.) In his studio, massive shapes in various stages of completion envelop and dwarf the visitor; even unfinished, their physical impact is immediate and kinesthetic. Dramatic, dynamic activation of the viewer’s body and ambient space marks a clear focus that began with Shelton’s earliest ruminations about the boundaries of architecture. He is less willing to pin down meaning…see the entire article in the print version of April’s Sculpture magazine.
