David Bates readily acknowledges that alternating between painting and sculpture has helped him meet different needs and effected periodic shifts in course. A decade ago he aspired to "true and complex dramas" in the paintings that first brought him national attention.2 Today he strives for "partial stories" in the sculptures that have preoccupied him since 1993. Although Bates has moved from the explicit to the . . .

photo: Jan Lee Bates
I want open-endedness within the narrative format -- no judgments, no statements, no stories. It's only backdoor narrative and partial stories that I am interested in at this point.1