Sarah Sze starts with the
grid but her work scarcely reminds us of crossings and corners. Buttons on
wires curve like a million mobile calls. A stub of old Athenaeum tickets are
set in lines: July, July, July. Loyalty cards mark imaginary intersections.
Some objects have the now trademark Sze biographical touch: her Venice Biennale
program. Typically with ‘Grid’ Sze introduces a material rare to the site, in
artificial form. In this case snow in drifts of kapok, rumples of white satin,
and samples of carded wool. Elizabeth Street’s a stretch of galvanized
guttering with pump set to flood unpredictably.
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