Antoine Pevsner was among the originators of Constructivism and a pioneer of Kinetic Art, discovering a new use for metals and welding and combining art with mathematics. Pevsner said: "Art must be inspiration controlled by mathematics. I have a need for peace, symphony, orchestration." Pevsner's studio was on the outskirts of Paris and housed his sculptures. He was one of the first to use the blowtorch in sculpture, welding copper rods onto sculptural formsand, along with his brother, Naum Gabo, he issued the Realist Manifesto in 1920. As Herbert Read noted in his introduction to the joint Gabo/Pevsner exhibition at MoMA in 1948, much of the art that is termed "modern" is in the nature of a protestation, a form of negative reaction to the decadence of civilization: "But the art of Antoine Pevsner and of Naum Gabo is positive and prophetic and it looks beyond the immediate convulsions of our epoch to a time when a new culture based on an affirmative vision of life will need and will call into being an art commensurate with its grandeur." (Herbert Read, Naum Gabo [and] Antoine Pevsner (exhibition catalogue), Museum of Modern Art, New York, 1948, n.p.). The overarching aim of the Constructivists was to extend the spatial range of conventional sculpture, to suggest by implied motion and directional forms the relationship between space and time. Instead of creating sculpture through the traditional methods of carving or modelling with clay, the brothers constructed three-dimensional art objects. They frequently used the new materials of modern industry: Gabo (who changed his name so as not to be confused with his brother), worked in plastics and other materials, whereas Pevsner chiefly in metals.