Eva
Hesse
The
exhibition tells the story of Hesse groping towards individuality as an
artist, and becoming fully herself. She switched from painting to relief
works, from these reliefs into a territory between painting and sculpture,
and from sculpture into some other, uncategorisable realm, which was like
"minimal art" but not quite of it. From here she moved into
a physical and conceptual space that was entirely her own. Her influence,
especially on subsequent women artists, has been great. What Hesse never
did, however, was turn her work into a style. It was, instead, an inquiry.
Shortly before her death, Eva Hesse described her subject as ‘the
total absurdity of life’. Indeed, one of the chief characteristics
of her work is a vein of subtle humour that runs from the self-deprecating,
abject quality of her early self-portraits to the quirky fetishism and
playful repetitions of her later sculpture. Yet in other ways her achievement
could not be more serious. Working in what was then very much a man’s
world, she pursued her ambition to become a great artist with single-minded
determination. Hesse grew more and more interested in what usually didn't
pertain to sculpture. Backing away from its 'male' rigidity, which included
the high-style rhetoric of Minimalism, she allowed her fascination with
the 'female' and the inward, including what was grotesque and pathetic,
to enlarge. The phallic mockery in Hesse's work can be comically obscene:
black salamis wound with string, slumping cylinders of fiberglass. Even
when it looks entirely abstract, her work refers to bodily functions.
Hesse readily absorbed the influences of Surrealism, Conceptualism and
Minimalism, always filtering them though her own distinctive sensibility
to produce a unique and highly individualistic body of work. Hesse forever
disconcerted her viewers, and herself. She was neither a minimalist nor
a postminimalist, nor a displaced arte povera artist, nor a process nor
a serial artist. Her art became what LeWitt told her it could be: itself.
But, Hesse still leaves us asking, what is it? It is at once elusive,
specific, filled with contradiction. It keeps us looking, asking questions.
She continually experimented with new processes and materials, which included
the use of string, resin and latex, in order to push the boundaries of
art, moving beyond definitions of figuration or abstraction. Combining
both rigidity and pliability, the machine-made and the hand-crafted, hard
geometric abstraction and soft organic curves, her work refuses to be
categorised. As Hesse herself commented: ‘The drawings could be
called paintings legitimately, and a lot of my sculpture could be called
paintings, and a lot of it could be called nothing - a thing or any object
or any new word that you want to give it.’
In a mature career spanning just ten years, Hesse created a considerable
legacy of work that was respected as much by fellow artists and critics
during her lifetime, as it continues to influence artists to this day.
Sadly, much of her later work is too friable, decayed and fragile to travel
or to be shown any more. It can't stand the light. That certain of her
works have achieved this indeterminate state - somewhere between intention
and degradation, order and chaos - is in keeping with the artist's own
relation to the things in the world, the substances and forms that her
art sought to transform through her working process. That her work goes
on changing, and degrading, might almost be taken as a posthumous trace
of her thought itself. The works assembled for this exhibition include
her early drawings and paintings, the painted reliefs, and many of the
astonishing sculptures for which she is best known. A number of these
have never been seen in the UK, allowing visitors a unique opportunity
to explore the work of one of the most important sculptors of the late
twentieth century.
Dying of brain cancer at thirty-four, an age at which most artist's careers
are barely under way, she left a truncated body of work but one of remarkable
power: an instrument of feeling that spoke of an inner life, sometimes
fraught with anxiety... We are watching the story of false starts, self-doubts
and a faltering progression unfold, just as we recognise that it will
soon be undone by death. The poignancy of Hesse's art comes through in
the darkening, brittle resin and the nicotine pallor and frangibility
of the latex and fibreglass pieces. But it is even stronger in the startling
freshness of much of what she made, its playfulness and "weird humour",
and its toughness, curiosity, repleteness and individuality. Her mother's
depression and suicide when Eva was only 10, and then her own terminal
illness when she was only 33, led to an unsentimental attitude to art
and life, 'Life doesn't last, art doesn't last, it doesn't matter'. 'I
can't stand gushy movies, pretty pictures and pretty sculptures, decoration
on the walls, pretty colours, red, yellow, blue, nice parallel lines make
me sick.'
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