Equal Tension (2019)
Equal Tension consists of five sculptures made of steel and yarn, standing at six feet tall and having a two foot square footprint. These structures confront the tension in the juxtaposition of these materials along with their connotative associations, referencing the repetition in minimalism that can be seen through works by Donald Judd. Repetition was used as a commentary towards the mass production that occurred post WWII. It emphasizes the repetition seen in construction and architecture. Metal, welding, and industrial forms are typically referred to as being “masculine”, seen through the Minimalism movement where artists created work that was void of emotion and of the “dramatic” by letting the materials speak for themselves. They typically used industrial material in order to combat the more expressive nature of the Abstract Expressionist movement. These sculptures in particular reference scaffolding. Crossbars are situated in an angled position, which is known to be one of the strongest forms to hold weight. Standing at six feet tall, they offer for the viewer to relate to their height, as they are slightly taller than the average person, allowing a physical relation to them.
The sculptures incorporate sheets of knitting stretched between the metal. In recent history, knitting has been viewed as a feminine craft. Before the Industrial Revolution, knitting was accepted as a profession and an important skill. However, once machinery could make this material, knitting was marketed towards women as a hobby. It was emphasized again as important during WWI so that women could knit clothing items for the troops, but was still marketed towards a feminine crowd. Due to the histories of metal construction and knitting, the combination of the two offer a connotative opposition in the materials.
Tautness in the sculptures illustrates the durability of knitted materials. Metal is incorporated into the knitting, as if it is caught in a spider web, questioning whether the knitting is relying on the metal or if it is an equal push and pull between the two materials. With these planes of materials stretched out, the pattern of the yarn becomes prominent and shows a sense of architecture within it, supplementing the architectural design of the scaffolding.
The sculptures depict strength in the union of the metal and yarn. Metal, scaffolding in particular, is meant to be supporting a large amount of weight, while yarn, when used as a clothing material, is meant to be supported by the body. Archivability of these sculptures also adds to the harmony in their differences. Though the metal will last longer than the yarn, the steel was left uncoated so that it will rust over time. The color of the knitting is restrained to toned down muted colors to reference the organic and homemade aspect to them, as well as to keep them from visually out balancing the bare metal. These qualities of the mediums show their differences, but are able to interact in a unifying manor. This kind of contrast was inspired by Eva Hesse, especially her piece Hang Up, 1966, where a cloth wrapped frame contrasts with a metal wire protruding into the space, creating an idea of absurdity.
Situated in the gallery in a “V” formation, the structures take on a power stance. This placement is also mimicked in flight patterns of birds to combat the wind, reinforcing the idea of these pieces portraying firmness and working together to create a balanced and sturdy structure. The alignment allows viewers to walk around each piece individually, but still with the perception that they are a unit together.