Ben Luke talks to Charles Ray about his influences and the cultural experiences that shape his life and work. Ray, born in 1953 and based in Los Angeles, is one of the most singular voices in contemporary sculpture, with a extraordinary grasp of the key elements of the discipline—space, material, surface, scale, weight and mass—and a unique approach to imagery, drawing on a huge range of sources to create absorbing, yet deeply ambiguous works. Carved and cast by hand and using cutting-edge technology, they often take years to come to fruition, and are made and remade in a variety of different patterns and prototypes in a range of materials and scales before being completed. Ray engages deeply with the history of sculpture, and in this conversation reflects on his admiration for everything from Anthony Caro’s abstract metal sculpture Early One Morning to the ancient Greek Great Eleusinian Relief. He also reflects on the significance to his work of Mark Twain’s Huckleberry Finn and the importance of his daily walks to his practice. Plus, he answers our usual questions, including the ultimate: what is art for?

The exhibition Charles Ray is at the Bourse de Commerce and the Centre Pompidou in Paris from the 16 February and continues until 6 June at the Bourse and until 20 June at the Pompidou. Charles’s exhibition Figure Ground is at the Metropolitan Museum of Art in New York until 5 June. Charles is in this year’s Whitney Biennial, called Quiet as it’s Kept, at the Whitney Museum of American Art, New York, from 6 Apr–5 Sept. And the third special installation of Ray’s works at Glenstone, Potomac, Maryland continues until spring 2023.

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