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As Isamu Noguchi walks us through his grand sculptures and gardens, the artist offers a unique insight into the way we, as individuals and as a collective society exist in time. Guided by his fascination with one's own reaction to time, Noguchi works to create pieces that emulate the non-linear narrative of life. Convinced that trapping oneself in a single time can be isolating in both existence and art, Noguchi stated, "If you are caught in time, immediate present time, then your choice is very limited, you can only do certain things correctly belonging to that time. But if you want to escape from that time constraint, than the whole world- I mean not just the most industrialized world - but the whole world is someplace where you belong." (Isamu Noguchi) Noguchi relates this interpretation of time to both his art and his experiences with the nature that tied into his work. While explaining how Michelangelo was told to collect his marble from Monte Altissimo di Nago, Noguchi dwells on the importance of recognizing the relationship between nature, art and technology. Much like his resistance to conform in the constructs of time, Noguchi is also persistent in his artistic freedom, rejecting the notion of a set genre or movement. He relies on intuition and passion to dictate his presence, and therefore his work's presence, in time and space. Reluctant to lock himself or his work into any preconceived notion, Noguchi stated the following, "I consider conceptual things as a base--that's where you start from. But the discovery is in the accidents and also the things that happen which make you change your mind. I'm never absolutely fixed about anything." (Isamu Noguchi) The fluidity of Noguchi's work led to a collection of stunning and diverse pieces that are, as he intended, timeless.

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Isamu Noguchi

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