Oct 27, 2011

REVIEW | Hana Hillerova & Susie Rosmarin: Reciprocal


From Conscious Space, 2009
The space of the exhibition was very open. When I first walked in, I felt as though it was a little empty—that it could’ve used more art pieces—but after contemplation, I believe leaving so much space between pieces made it more meaningful. It gave the viewer an opportunity to see each piece individually, as opposed to getting lost in too much color or too many lines. Afterwhich, stepping back and looking at the entire space of the room, I could appreciate how the artists’ work played together almost as if they had collaborated when they were creating.


In the middle of the gallery, Hana Hillerova’s work literally stood out. Taller than me, the apparently white and silver structures demanded attention. Although geometric, I can’t help but feel they held a quite organic presence. Perhaps I could relate the math to nature because math must obey laws of nature which we see visually everyday in ordinary places, but do not necessarily recognize or label. Furthermore, the claim on Texas State University’s website that the work could be related to Euclidian geometry is quite true. The work consists of four fundamental qualities of Euclid’s teachings: point, straight light, plane, and space. Three of which (point, straight line and space) can be easily seen in Hana Hillerova’s work.

I very much appreciated the material of Hillerova’s untitled work, which at first looked like extremely shiny steel, until I realized it was mirror, which is why it reflected so beautifully. Unfortunately, I didn’t get to see the light really reflected off the sculpture like it does in the photo below from another show, as the room was well lit and didn’t allow much shadow.
Untitled (from Angel Crystals), steel and mirror, 2008
Plane, straight line and point are seen in Rosemarin’s work, which was on all the walls and consisted of intricate paintings of color or black and white, all like checker or plaid.

I had previously seen Rosemarin’s work on a screen from a projector and I thought, “So what? Big deal.” Seeing her work in person changed my mind. The work was so incredibly vibrant and shiny—the screen did not do it justice. The work was so easy to look at, so pleasing to the eyes that I instantly thought and felt happy. I’ve never had such a quick and postive reaction to art before. Perhaps because I have not been to many shows and something about seeing a piece before me, as opposed to on a picture, really makes it come to life.
Spectrum #10, acrylic on canvas, 66"x66", 2008
When I stood up close to her large Spectrum 10, I felt as though I had stepped into a world in the rainbow. Looked at the layering of the work, the texture, the precise lines which existed where the small blocks of color were masterfully placed side by side. I thought of how Rosemarin explained the meditative complexity of the process, and the physical endurance and patience she needed to complete the work. Interesting how something can appear so simple and complex at once.

My favorite pieces of Rosemarin’s were: yellow green—which reminded me of spring, yellow red—which made me think of Starburst Reds, and Spectrum 10. Everything I saw I wanted to turn into some type of textile: clothes, napkins, a table cloth. Then I was reminded of how she worked in a clothing store for years. Coincidence? Perhaps this it too much information, but I’d beg Chris March to make me a fabulous dress out of one of Rosemarin’s patterns. Too bad I’m a poor college student.
Yellow-Green, acrylic on canvas, 20"x20", 2008
—Bianca High



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