"For us, the idea of having a work that has contradictions is very important—when, in affirming something, it includes itself and attacks itself. How can you put together all of these things that have nothing to do with each other? You use glue! Glue can be an idea, a word. You can use an ideological glue."
"Untitled (Yes), White" (2000)
"Untitled (Yes), White," 2000
Cast optical glass, 18 x 46 x 26 1/2 inches, 2367 lbs
Photo by Nic Tenwiggenhorn
Courtesy Matthew Marks Gallery, New York
Cast optical glass, 18 x 46 x 26 1/2 inches, 2367 lbs
Photo by Nic Tenwiggenhorn
Courtesy Matthew Marks Gallery, New York
"One of the underlying interests of my work is to equate the experience of it with the content. That’s kind of a leveling of a difference between conceptual and formal. I use both those languages as essential parts of a whole. By formal, I don’t mean stripes and squares- I mean how a thing exists in the world. And that’s really important to me in terms of how a work relates itself to what is out there, whether it’s the room or the person in front of it, or the circumstances more broadly. The formal aspect is a very small part of the palette."
- Roni Horn
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