Times Zero

Sarah Sze, Ripple (Times Zero) (2020). Oil paint, acrylic paint, acrylic polymers, ink, aluminum, archival paper, oil stick, pencil, graphite, string, push pin, diabond and wood. 289.6 x 362 x 9.5 cm. © Sarah Sze. Courtesy Gagosian. Photo: Rob McKeever.
Sarah Sze, Blind Spot (Times Zero) (2020). Oil, acrylic polymers, ink, aluminium, diabond, and wood. 262.3 x 327.7 cm. © Sarah Sze. Courtesy Gagosian. Photo: Rob McKeever.

I came across Sarah Sze while browsing youtube channel GAGOSIAN, she is a contemporary American installation artist that uses mix-medium, collages, found objects and painting. What intrigues me so much is that Sze uses material to represent the digital texture / experience that her paintings look like glitch art. In contrast of Post-internet art that use digital as medium and platform. Her makings engage a sense of a general collective conscience in a fluid reality and virtual space.

Her dynamic practice that addresses the precarious nature of materiality and grapples with matters of entropy and temporality, leading us to decode these vast information and question the complexity of memorialising a human life in virtual space.

In the talk below, she talks about crossing-thinking materials, in ways of breaking boundaries of painting, sculptures, and all other media like photography, printmaking and video. I suddenly have ideas such as processing my inspirations, and subject matter in computers, printing them out and overlapping these fragments and blurring them to a sense of uncertainty and mass information that reflect a glance of presence.

That idea of the impossible, or the potential of those things that can only be imagined and not achieved, is what you want to do as an artist. It’s a dimension of time that you want to be thrown into, and it’s the potential of an artwork: to put you into that world of imagination. In the midst of this crisis, I think the idea of re-imagination is especially relevant.

PARIS, 14 MAY 2020



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