alice aycock, studies for a town, 1977
He does say you have “closure” in terms of your openness. He does say your pieces are complete. I thought of “de-centered” because it seems like that is like a tear- it de-centers you. How do you like that?
Maybe. I believe my best work-work that happened every couple of years, without me “forcing it”- is about creating a sense of disequilibrium, and a moment of (she gasps)-ahh! It is closer to terror, and also the pleasure in terror. Which is hard to do for many reasons- even insurance reasons (laughs). When the work is really good, that’s what I am able to do. Along with something visual and beautiful, I hope. Something like (the piece at) Storm King- which I like a lot. It does all those things. You get that sense of (breathes in quickly)- it isn’t scary, but it’s like- whoa! You ask yourself-“Where would I be in that thing?”- as you approach it. That whirling motion, it is pretty neat to look at. I also want you to feel that moment when the wave comes in and takes you under. Or you step out into empty space. I had it even today driving into the city- I almost got sideswiped. You gasp. That’s what obsesses me, that’s what I can’t ignore. That near miss, that glance- what Neitchze called the “glance of eternity”. I think art can do that, the art I have always liked does that. It just keeps you in the moment of saying “yes” and saying “no” – the approach/withdraw syndrome. That’s what we like about some African art, it is sheer terror- a little bit of it. The art we keep going back to over and over does that. Architecture can do that.