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Edition 1: This Isn't All There Is

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Page 6 of 377

T EDITORIAL he vast scale of Alex Liberman���s modernist steel beam sculptures were in marked contrast to the small, crowded studio of his Connecticut house where he showed me his paintings. Positioned to invite close examination, I chanced guessing their order of execution. Alex confirmed my accuracy and invited me to lunch at Le Cirque. As the creative director of the Conde Nast publishing empire, Alex was an international taste-maker. Over our lunch he reinforced a sense I had that in all great and satisfying design and art there is balance, a line around which and from which the object or work of art derives harmony. However complex, however simple, however traditional or modern, one can seek to ascertain and derive contentment from perceiving this balance. It seemed to me then, and now even more so, that Alex���s robust sculptures and his intimate paintings were of the same bent. They both possessed superior artistic balance honed by years of a wide diversity of creative decisions and by millennia of human experience. Now, thirty seven years after those encounters with Alex, and after thousands of my own creative decisions, I am happy to assert that, through the genius of the artists, designers, decorators, and others presented in Hyland, the underlying balance and the excellence that I discussed with Alex continues. The ancients of all cultures need not fear, to the extent that balance guided them, their legacy perseveres. Christopher Hyland

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