Sarah Sze

High line was an old railway that was petitioned by the local people to become a park, instead of being knocked down. This then allowed natural wildlife to thrive in a metropolis. The piece that was created for this project was inspired by making a location for people to view the birds. It was said that ten minutes of viewing birds was a large amount of time, however this would provide so much for that one person. Slowing down and observing is something that she therefore wanted to bring into this piece and into the visual art she generally produces.
The high line was a very in the moment sculpture with the idea of play and flexibility in the making. There is also the use of the negative space in the shape of a ball in the centre of the sculpture, giving the sense of being surrounded. Sze’s pieces would also often look from the exterior to the interior. A string system was used from a single point in the piece which was initially to line up the different bird boxes, food and water in the piece. This string method was then captured within the sculpture to add another element to the piece.
Throughout this, it was found that the size and space is crucial to the piece. This is also due to Sze’s background in architecture, that which she grew up with. What can you do in a sculpture that you cannot do in a drawing? It has been mentioned that Sze enjoys working with pieces that are flexible, malleable and where things can fall apart. This thought process is also influenced by how Sze wants people to view her work – she wants people to view work like a novel where there is a narrative movement of the viewer in the space.
The materials used in her work depends often on the accessibility of them. There is often a lack of cultural and monetary value to these items. The space, however, are not only those that can introduce a narrative between viewer and artwork, but also to fuse the spaces that are otherwise unoccupied e.g. the ventilation space by the windows in a museum. The experience of viewing should be one of discovering.
Sze does not often photographs her pieces, in order to try and capture what is special about the piece. Through the use of photography, there is also the sense of the piece becoming flattened out, almost becoming a painting with speed and movement.
People often add to the works, creating experiments that were not initially possible.
I found the interaction between Sze and the use of architecture and the landscape to be very interesting. The boundary between the artwork and the architecture is blurred within the discovery of the pieces for the viewer. The background of architecture within her life cleared the air on his subject, however it is still very evident that it has been used with much of her work, and this is the process that I find fascinating.

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