• Work
    • Decoherence
    • Objecthood - The Core
    • Woven Signals
    • Origami Fabric
    • Wooden Waves
    • Parametric Landscape
    • Wooden Collar
  • Info
    • Statement
    • Bio
    • Resume
    • Contact
  • News
  • Notes
  • Acquire
  • Menu

aml

  • Work
    • Decoherence
    • Objecthood - The Core
    • Woven Signals
    • Origami Fabric
    • Wooden Waves
    • Parametric Landscape
    • Wooden Collar
  • Info
    • Statement
    • Bio
    • Resume
    • Contact
  • News
  • Notes
  • Acquire
“The best that can be said for either the square or the cube is that they are relatively uninteresting in themselves. Being basic representations of two- and three- dimensional form, they lack the expressive force of other more interesting forms and shapes. They are standard and universally recognized, no initiation being required of the viewer; it is immediately evident that a square is a square and a cube, a cube. Released from the necessity of being significant in themselves, they can be better used as grammatical devices from which the work may proceed. The use of a square or cube obviates the necessity of inventing other forms and reserves their use for invention.”
— Sol Lewitt, in Lucy Lippard’s publication “Homage to the Square”, 1967

September 25, 2015
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