Grids in the World

It is possible that my argument that grids are too conceptual, meaning that they are too much a pre-existent form and therefore block experience, might apply less to three dimensional work than to two dimensional. So, apropos of Morellet, for example, and returning to my earlier post on Support/Surface, an artist may well make expressive works out of straight elements and right angles. Since such a work would be a new object in the world, the political question is—does it need the kind of strong autonomy described in the preceding post in order to stand apart from all the other three dimensional grids around it? I’m not sure about the answer to that question, or if it is the right one, but I think that the influence of our built environment is so strong that it is very hard to get a critical distance on Newtonian space. And I wonder if that might be one cause of the difficulty in receiving “messages from the inhuman.”

François Morellet, Sphère-trames, 1962

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