Inspired by the aesthetic qualities of 1960’s New York Minimalism, I have been exploring non-representational repetitive pattern. Unlike Abstraction, Minimalism does not attempt to represent an outside reality, but instead focuses on medium and form, evoking an appreciation for the object itself, not what it represents. Within Minimalism I refined my interests to ‘non-industrial’ materials, choosing to work primarily in textiles. I have endeavoured to utilize the qualities of fabric, exaggerating, creases, textures and fraying. More recently I have made sculptural forms, choosing to cut, rip, drape, fold, and knot the fabric, to create objects rather than surfaces.
Scale and orientation significantly affects the perception of objects; it brings authority to the otherwise mundane. I wanted to occupy the space with a form that was accessible, but with repetitive construction, making use of the effect of gravity on the hanging to enhance the sense of scale. The purpose is to trigger a mental response in the viewer.
This final outcome blends together aspects from four key artists. Robert Ryman, known for his purely white paintings, influenced my colour choice. Agnus Martin’s delicately precise grids, inspired my use of fine muslin. I have imagined my grid as a kind of three dimensional, textile version of one of Martin’s works, bringing order to a pliable material. Robert Morris and his draping felt works informed the hanging of my work. Eva Hesse’s relationship between ugliness and beauty prompted my decision to combine the order of the grid, with the raw edges of the ripped fabric. The grid was a prominent form within Minimalism, by employing it, within the context of these four artists, I intend that my outcome will be perceived as fitting comfortably alongside the work by which it was inspired.