IN the list of demands which you published in your extensive coverage of the Polish workers struggle, you omitted to mention the 'monument' 'demand.
According to the Guardian (28 August), 'a professional sculptor has drawn up plans for a monument to commemorate the workers killed in 1970. This is one of tre sirtkers aemanas, already accepted in principle by the authorities, but there may well still be arguments over the form the monument will take.
According to the strikers' design, which is pasicu up un over ine shipyard, it will consist of four huge crosses soaring 60 feet into the air. At the top of each cross is an anchor symbolising the dashed hopes for political and economic reform in the past. Beneath is a huge flame representing Poland's enternal optimism.
'Like the paper monument, the strikers' ambitions reach higher every day.. But one wonders...' and then the Guardian rambles on in its usual way, with an extra touch of lyricism.
As an artist, I find this extremely exciting. I thought that I'd write to you about it as it is a living example of how sculpture can be something other than blocks of rock on loan to ine serpenine rom ine Guggenheim, but that for sculpture to be able to become this other