![]() For me they haveĪ deeply human quality. We're looking at something we're not supposed to look at. They are disgusting,Īnd they are absurd and they're funny and they're dangerous and they're menacing. Sometimes the length that'sĪlong the floor is longer, sometimes shorter. Maybe if they were hungĪ little bit lower, that right angle wouldīe at a different point. It gives us a sense of them being like the joints of the human body. And I think the fact that they bend where they touch the floor, Like intestines or worms or the jagged edges of Sometimes conforms to the retrusion of the metal, but sometimes the metal pokes out. The metal wire juts out in places and the skin like rapping They shine in places and glisten and have a feeling of being And when you walk up to them, you see that they're reflective. And so there's a strange feeling of, because these are verticalįorms, something semi human. That the forms face one another and I say face carefullyīecause the bottom parts of what feels like limbsĪre parallel to the floor and move toward one another. Around that is a fiberglass and a resin, but the surface is transparent in places, translucent in others and They're made out of wrapped metal that has haphazardly twistedĪnd forms of interior skeleton. There're seven forms that hang from wires suspended from above. Even in this part of the museum, that's filled with modern sculpture, much of it, very powerful That Eva Hesse produced, it's called "Seven poles"Īnd was made in 1970. At the Pompidou center, looking at the last sculpture
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