dream
On a hill there just lays .. yes, but what?
Is this ice that is partially melted? Mmm, I don't think so.
I see a reflection: is air arranged here? Yes, that could be. Whether in summer or autumn; we see here the reflection of the blue sky, white clouds, threatening skies, maybe even the sun.
Why does it have a round form? Maybe it's because the air is also in a circle.
Why is the inner part of the mirror missing? There is also the air, right? Here we see a section of the hill. According to me, Sarah Sze wants to bring a piece of the sky to the earth. Sarah Sze stays down-to-earth and makes a piece part of the sky palpable for us.
People are partly earthly and a reptile: we can become anxious when we do not have food, we can be able to be aggressive, we are able to be sexually excited. People are also partly spiritual in nature and an angel: we can love, we can make common sense, we are able to dream. Sarah Sze lays parts of the heavenly skies on this real-earthen mound. Sarah Sze asks us, 'do we find that we love, reasonable think and dream enough?'
By Theo, www.artatsite.com
Vertaling
droom
Op een helling ligt daar zomaar .. jah wat?
Ligt hier ijs dat gedeeltelijk gesmolten is? Mmm, dat lijkt me niet.
Ik zie een weerkaatsing: ligt hier lucht? Jah, dat zou kunnen. Of het nu zomer of herfst is; we zien hier de weerkaatsing van blauwe lucht, witte wolken, dreigende luchten, misschien even de zon.
Waarom heeft dit een ronde vorm? Misschien omdat ook de lucht een cirkel is.
Waarom ontbreekt het binnenste gedeelte van de spiegel? Daar zit toch ook lucht? Hier zien we een gedeelte van de helling. Volgens mij wil Sarah Sze een gedeelte van de lucht op de aarde brengen. Sarah Sze blijft met beide benen op de grond en maakt een gedeelte van de lucht tastbaar voor ons.
Mensen zijn deels aards en een reptiel: wij kunnen angstig worden als wij geen voeding hebben, wij kunnen agressief zijn, wij kunnen seksueel opgewonden raken. Mensen zijn deels ook geestelijk en een engel: wij kunnen liefhebben, wij kunnen redelijk denken, wij kunnen dromen. Sarah Sze legt gedeelten van de hemelse lucht op deze concrete aarden heuvel. Sarah Sze vraagt ons: 'vinden wij dat voldoende liefhebben, redelijk denken en dromen?'
Door Theo, www.artatsite.com
www.ocula.com:
Sarah Sze, who represented the United States at the last Venice Biennale, uses a myriad of everyday objects to create site-specific sculptures that are often monumental in size, and always of astonishing intricacy. Daughter of an architect and graduate of painting from Yale, her practice draws on the formal considerations of both architecture (through a careful manipulation of space and movement), and painting (through her use of colour, texture and composition).
Related to this is her exploration of how one uses materials to model ideas that are impossible to model, like the psychological or emotional units of time. In this interview, Sze also goes on to discuss the relationship between her work and painting and her use of literature and chance, referring to her works as experiments which attempt to raise questions, the answers to which she hopes lie somewhere beyond the imagination.
www.wikipedia.org:
Sarah Sze (born 1969) is a contemporary artist known for sculpture and installation works that employ everyday objects to create multimedia landscapes. Sze's work explores the role of technology and information in contemporary life utilizing everyday materials. Drawing from Modernist traditions, Sze's work often represents objects caught in suspension. Sze lives and works in New York City and is a professor of visual arts at Columbia University.
Sze draws from Modernist traditions of the found object, to build large scale installations. She uses everyday items like string, Q-tips, photographs, and wire to create complex constellations whose forms change with the viewer's interaction. The effect of this is to "challenge the very material of sculpture, the very constitution of sculpture, as a solid form that has to do with finite geometric constitutions, shapes, and content." When selecting materials, Sze focuses on the exploration of value acquisition-what value the object holds and how it is acquired. In an interview with curator Okwui Enwezor, Sze explained that during her conceptualization process, she wil"choreograph the experience to create an ebb and flow of information [...] thinking about how people approach, slow down, stop, perceive [her art]."
Sze's work is influenced, in part, by her admiration for Cubists, Russian Constructivists, and Futurists. Particularly, their attempt to "depict the speed and intensity of the moment and the impossibility of its stillness."
Sze represented the United States at the Venice Biennale in 2013, and was awarded a MacArthur Fellowship in 2003. Her work has been featured in The Whitney Biennial (2000), the Carnegie International (1999) and several international biennials, including Berlin (1998), Guangzhou (2015), Liverpool (2008), Lyon (2009), São Paulo (2002), and Venice (1999, 2013, and 2015).
On a hill there just lays .. yes, but what?
Is this ice that is partially melted? Mmm, I don't think so.
I see a reflection: is air arranged here? Yes, that could be. Whether in summer or autumn; we see here the reflection of the blue sky, white clouds, threatening skies, maybe even the sun.
Why does it have a round form? Maybe it's because the air is also in a circle.
Why is the inner part of the mirror missing? There is also the air, right? Here we see a section of the hill. According to me, Sarah Sze wants to bring a piece of the sky to the earth. Sarah Sze stays down-to-earth and makes a piece part of the sky palpable for us.
People are partly earthly and a reptile: we can become anxious when we do not have food, we can be able to be aggressive, we are able to be sexually excited. People are also partly spiritual in nature and an angel: we can love, we can make common sense, we are able to dream. Sarah Sze lays parts of the heavenly skies on this real-earthen mound. Sarah Sze asks us, 'do we find that we love, reasonable think and dream enough?'
By Theo, www.artatsite.com
Vertaling
droom
Op een helling ligt daar zomaar .. jah wat?
Ligt hier ijs dat gedeeltelijk gesmolten is? Mmm, dat lijkt me niet.
Ik zie een weerkaatsing: ligt hier lucht? Jah, dat zou kunnen. Of het nu zomer of herfst is; we zien hier de weerkaatsing van blauwe lucht, witte wolken, dreigende luchten, misschien even de zon.
Waarom heeft dit een ronde vorm? Misschien omdat ook de lucht een cirkel is.
Waarom ontbreekt het binnenste gedeelte van de spiegel? Daar zit toch ook lucht? Hier zien we een gedeelte van de helling. Volgens mij wil Sarah Sze een gedeelte van de lucht op de aarde brengen. Sarah Sze blijft met beide benen op de grond en maakt een gedeelte van de lucht tastbaar voor ons.
Mensen zijn deels aards en een reptiel: wij kunnen angstig worden als wij geen voeding hebben, wij kunnen agressief zijn, wij kunnen seksueel opgewonden raken. Mensen zijn deels ook geestelijk en een engel: wij kunnen liefhebben, wij kunnen redelijk denken, wij kunnen dromen. Sarah Sze legt gedeelten van de hemelse lucht op deze concrete aarden heuvel. Sarah Sze vraagt ons: 'vinden wij dat voldoende liefhebben, redelijk denken en dromen?'
Door Theo, www.artatsite.com
www.ocula.com:
Sarah Sze, who represented the United States at the last Venice Biennale, uses a myriad of everyday objects to create site-specific sculptures that are often monumental in size, and always of astonishing intricacy. Daughter of an architect and graduate of painting from Yale, her practice draws on the formal considerations of both architecture (through a careful manipulation of space and movement), and painting (through her use of colour, texture and composition).
Related to this is her exploration of how one uses materials to model ideas that are impossible to model, like the psychological or emotional units of time. In this interview, Sze also goes on to discuss the relationship between her work and painting and her use of literature and chance, referring to her works as experiments which attempt to raise questions, the answers to which she hopes lie somewhere beyond the imagination.
www.wikipedia.org:
Sarah Sze (born 1969) is a contemporary artist known for sculpture and installation works that employ everyday objects to create multimedia landscapes. Sze's work explores the role of technology and information in contemporary life utilizing everyday materials. Drawing from Modernist traditions, Sze's work often represents objects caught in suspension. Sze lives and works in New York City and is a professor of visual arts at Columbia University.
Sze draws from Modernist traditions of the found object, to build large scale installations. She uses everyday items like string, Q-tips, photographs, and wire to create complex constellations whose forms change with the viewer's interaction. The effect of this is to "challenge the very material of sculpture, the very constitution of sculpture, as a solid form that has to do with finite geometric constitutions, shapes, and content." When selecting materials, Sze focuses on the exploration of value acquisition-what value the object holds and how it is acquired. In an interview with curator Okwui Enwezor, Sze explained that during her conceptualization process, she wil"choreograph the experience to create an ebb and flow of information [...] thinking about how people approach, slow down, stop, perceive [her art]."
Sze's work is influenced, in part, by her admiration for Cubists, Russian Constructivists, and Futurists. Particularly, their attempt to "depict the speed and intensity of the moment and the impossibility of its stillness."
Sze represented the United States at the Venice Biennale in 2013, and was awarded a MacArthur Fellowship in 2003. Her work has been featured in The Whitney Biennial (2000), the Carnegie International (1999) and several international biennials, including Berlin (1998), Guangzhou (2015), Liverpool (2008), Lyon (2009), São Paulo (2002), and Venice (1999, 2013, and 2015).