- Colour: Various colours
- Material: Polychrome mild steel
- Collection: Tate Gallery London - T01353
Lit: Richard Morphet, in catalogue of The Alistair McAlpine Gift, 1971, p. 56. ‘7th Sculpture’, 1965, was made at a time when he had become greatly interested in sculptures which combined clear expression of a form’s three-dimensionality with a topological apprehension of the continuity of its surface, seen by implication as flat. The principal manifestation of this was a series of sculptures like open boxes defined by curling bands or modules of colour, and enabling the complex as a whole to be read as cube, sphere, polyhedron or line. These works were the dearest instance in Bolus’s work of flickering interchangeability of role in a single static image. They also postulated, as ‘8th Sculpture’, 1963, for example, had earlier done, that neither surface nor line really need be cut off at any point. The sphere in ‘7th Sculpture’ continues this obsession with surface, and with plane made into volume; the cross-shape may be read equally as an endless line and as a deliberate making irregular of a symmetrical shape. Bolus sees the cross-shape and the void in the sphere as analogous to splashes of paint, or liquid photographed at high speed at the moment of impact with the ground; this work relates also to the fullness and expectancy preceding birth.' Published in The Tate Gallery Report 1970–1972, London 1972. This Sculpture was shown in the 1966 'Primary Structures' exhibition at the Jewish Museum in New York. Illustrated in Time magazine, June 3, 1966, "Engineer's Esthetic", pg. 64 as shown in image at the top of this page. Also illustrated in New Scientist and Science journal 22 July 1971, page 221 NEWSCI
Sculpture 7 - 1965, was shown as part of the Exhibition "Objects of Wonder: British Sculpture 1950 – Present" at PalaisPopulaire in Berlin from 1 February – 27 May 2019.