There is an interesting parallel between the reductive process of writing certain kinds of modern poetry and the approach taken by the sculptor, Alberto Giacometti, to his work. Giacometti reduced the form of his human subject to an absolute minimum, whilst somehow managing to maximise its existential reality; perhaps as a result of the increased isolation in the expanded, surrounding, three-dimensional void. It is almost as if the otherwise voluminous, fleshy, sculptural form had been shrunk and reduced to the elongated, yet intense, state of a skeletal armature; but not one lacking human qualities, even though some of the final forms were not unlike stalagmites. If it is possible to do the same with written work, then perhaps such an approach can be adopted to bring about a similar kind of appreciation of what it means to be human and ultimately the significance of No Water No Moon.
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