“With space…Giacometti has to make a man; he has to write movement into the total immobility, unity into the infinite multiplicity, the absolute into the purely relative, the future into the eternally present, the chatter of signs into the obstinate silence of things. Between the model and the material there seems to be an unbridgeable chasm; yet the chasm exists for us only because Giscometti took hold of it. I do not know if we should regard him as a man who wants to impose a human stamp on space, or as a rock about to dream of the human. Or rather, he is the one and the other, and the mediation between them. The passion of sculpture is to make oneself totally spatial, so that from the depth of space, the stature of a man may sally forth. Thoughts of stone haunt Giacometti. Once he had a terror of emptiness; for months, he came and went with an abyss at his side; space had come to know through him its desolate sterility. Another time, it seemed to him that objects dulled and dead, no longer touched the earth, he inhabited a floating universe, he knew in his flesh, and to the point of martyrdom, that there is neither high nor low in space, nor real contact between things; but, at the same time, he knew that the sculptor’s task is to carve in this infinite archipelago the full form of the only being who can touch other beings. I know nobody as sensitive as he to the magic of faces and gestures; he regards them with a passionate desire, as if he were from another realm. But sometimes, tired of warfare, he tried to mineralize his fellows: he saw crowds advancing blindly towards him, rolling on the boulevards like the stones of an avalanche. Thus, each of his obsessions coincided with a task, an experiment, a way of feeling space…”
Jean-Paul Sartre, The Search for the Absolute, in Albert Giacometti (New York: Pierre Matisse Gallery, 1948. Translation by Lionel Abel – found in Theories and Documents of Contemporary Art: A Sourcebook of Artist’s Writings.