Just watched this short interview with Cornelia Parker. She’s sitting at her desk in front of a big window sewing grid lines into a piece of white paper, using thin wire drawn from bullet-metal as thread. She says,
There’s approximately a bullet’s worth of lead in each drawing, so when you get this grid it’s a kind of formal device, and what happens when you have the sights of a gun you have these two grids that snap together: when they’ve meshed you know you’re on target. I thought it’s quite interesting to load up this minimalism with a bullet—a gun shot—a split second, perhaps as a violent end or death or whatever, but then, you know, to draw it out…
Somehow, through the process, it’s really nice to have time to think about those things when you’re doing it.
It reminded me of things I’ve been circling back to lately: the violent undertones I intuit in Agnes Martin’s work and the anachronistic, responsive nature of art historical research that artists know through daily doing.
Images: screenshots from the Telegraph video interview, 5/24/13.