Fred Sandback illustrates the use of spatial
exploration through the experimentation of yarn. By stretching yarn across the
room from various locations, he is able to successfully redesign a space. Based
on his work in the David Zwirner Gallery, one can speculate the spatial
explorations Sandback aims to reveal. An example of such exploration would be
the stretching of yarn across the diagonal of a white room. The room has three
separate doorways, in which, the viewers first enter from the left side of the
room. Two exits are located on the same side directly to the viewers left hand
side. Due to the placement of this yarn, which basically divides the room,
visitors decide to enter through the first exit on the left instead of the exit
on the further left hand side. This is mostly because of the yarn. As it is
stretched diagonally across the room, it divides the space in a way that
prevents most people that are standing erect, from passing through.
In our own attempt to work with space in
Sandback's style, we chose a room and implemented the use of string in place of
yarn. We were able to recreate Sandback's spatial exploration by using strings
to divide a room. In this room, we stretched out the string at a height that
only certain people are able to pass through. Through this experimentation we were
able to understand how circulation works in the use of spatial division.
Depending on how string/yarn is stretched in spatial divisions, the area is
completely redesigned. These string-obstacles become some sort of surface that
acts just as well as a barrier or furniture. Ironically, strings and yarns are
thin and the walls they create are not at all impenetrable, yet, the space they
occupy and the extent they stretch out to are almost seen as an impassable
force.


Cynthia, I like your assessment of Sandback's work in relation to exits and entrances. While I think your group could have taken your own Sandback project further, I like how it invokes the differences of individual bodies and their spatial experiences as well as how you notice that even the simplest intervention--like the horizontal strings your group installed--can be read as dissecting the space, experienced as a prohibition against movement, or felt as a kind of threshold.
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