I found this fascinating article on the history of of string based-art works, which talked through a lot of the reference artists I have found on my travels, and a few new ones as well.
Starting from the sculptural works of Henry Moore and Barbara Hepworth with threaded string, resembling mathematical structures, and possible influencer Naum Gabo. Looking back at this, I notice that so much sculpture involving string is exploring geometry in nature, very little of it appears to be on a more conceptual basis. The installation is ore suited to this nature of art I believe. Once you start adding more complex craft to the work – weaving, basketry, embroidery, knitting and so on, you add layers and layers of more narratives which are based on the process and not the concept. Which is fine if that is the core of your work. However, I have never wanted to make statements about subverting a craft tradition, nor do I want my piece to comment on ‘domesticity and feminine arts’ which is what so many articles on textile/fibre work seem to do. So this brings me firmly out of the idea of making an object (bye bye map weaving) and firmly into contemporary installation territory.
The article, progressing onwards, takes us to the Minimalist string installations / sculptures of Fred Sandback.
Untitled (Cornered Triangle, Fifth of Ten Cornered Constructions), 1980
His work used single strands of yarn from point to point to create precise geometric figures. This was of bifurcating three-dimensional space, these “intangible objects” became a meditation on the pictorial plane and architectural volumes. With this work I noticed the strength of simplicity that can construct a separate architectural space within a larger space. Comparing this to the massive complexity of works by other architectural influenced artists, such as Tomas Saraceno (pic below), I much more align myself with the more Minimalist approach.
Galaxy Forming along Filaments, like Droplets along the Strands of a Spider’s Web 2009
I am not however, making a pure geometric space, as this would be too much of an exploration of abstract spatiality. In the same way that my hope to use psychogeography as the core of my process roots the work too much into a specific locality. I want my work to be about both the here and there, while being firmly neither.
As I write this, I remind myself of what I had originally written in my project proposal, final version submitted back in November about creating a heterotopia, a placeless place: a real place which exists simultaneously outside of all places, neither here nor there. This is the effect I can create with an installation – which I am now firmly set on making large scale – and using it to construct a heterotopic space which manifests a physical, personal conception of my sense of self:
I am this place. I am no place.