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Art history student. Fool for love.

Piece in many parts
Each in itself is a complete statement,
together am not certain how it will be.
A fact, I cannot be certain yet.
Can be from illness, can be from honesty.
irregular, edges, six to seven feet long,
textures coarse, rough, changing.
see through, non see through, consistent, inconsistent,
enclosed tightly by glass like encasement just hanging there,
then more others, will they hang there in the same way?
try a continuous flowing one,
try some random closely spaced,
try some distant far spaced.
they are tight and formal but very ethereal, sensitive, fragile,
see through mostly,
not painting, not sculpture, it’s there though.
I remember I wanted to get to non art, non connotive,
non anthropomorphic, non geometric, non, nothing,
everything, but of another kind, vision, sort.
from a total other reference point. is it possible?
I have learned anything is possible. I know that,
that vision or concept will come through total risk,
freedom, discipline.
I will do it.

today, another step, on two sheets we put on the glass,
did the two differently.
one was cast-poured over hard, irregular, thick plastic;
one with screening, crumpled, they will all be different, both the rubber sheets and the fiberglass,
lengths and widths.
question how and why in putting it together?
can it be different each time? why not?
how to achieve by not achieving? how to make by not making?
it’s all in that,
it’s not the new, it is what is yet not known,
thought, seen, touched but really what is not.
and that is.

Eva Hesse, ‘Artist’s statement’, Art in Process IV (New York: Finch College, 1969); reprinted in Lucy R. Lippard, Eva Hesse (New York: New York University Press, 1976) 165. 

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