Roger Rigorth’s sculptures integrate cultural variables with natural materials to create a sense of history and of place and time. There is a suggestion that these hybrid quasi-craft forms could have had a function. They might even have a symbolic purpose, but what, and for what culture? Such curious ambiguities, both historical and cultural, fuel Rigorth’s aesthetic. He uses locally available materials that suggest craft and handwork, but his structures exist at a crossroads between the natural and the manmade. Lillywhite (2008), created for “Sculpture by the Sea” at Bondi Beach in the suburbs of Sydney, Australia, is typical of Rigorth’s organic sculptural weavings. As a sculptor, Rigorth uses repetitive folk-craft actions such as weaving to mimic how living forms design procreatively…see the entire article in the print version of April’s Sculpture magazine.