Maren Hassinger's art is a testament to the power of simplicity and the magic that can be found in everyday actions. For over five decades, she has been creating captivating site-specific sculptures that challenge our perceptions and encourage us to engage with the world around us in new and meaningful ways.
Hassinger's work is characterized by her use of simple materials and actions, such as tying knots, twisting metal, and breathing into plastic bags. These seemingly mundane practices are transformed into powerful artistic expressions that reveal the beauty and complexity of everyday life.
One of the most fascinating aspects of Hassinger's art is her ability to make us look at things anew. Her piece, 'Untitled Rope', is a perfect example of this. Four thick lengths of rope, arranged into a loose macrame knot, tantalizingly on the verge of being pulled taut, invite viewers to consider the potential for transformation and connection. As the curator Anthony Graham suggests, the act of walking on either end of the rope and closing the knot together could symbolize both a physical and metaphorical joining of forces.
Hassinger's use of knots is prevalent throughout her work, from 'Untitled Rope' to 'Sign of the Times'. In the latter, she twists and ties strips of the New York Times into massive ropes that hang down from a gallery wall. This piece not only showcases the versatility of knots but also highlights the quotidian nature of newspapers, transforming them into a source of wonder and humanity.
The artist's work often requires ongoing care and interaction, bringing museum staff into her practices of the quotidian. 'Love (Pyramid)', for instance, involves filling plastic shopping bags with breath and love notes, then pinning them to the wall. This simple act of filling and pinning becomes a means of reaching out to others and building connection.
Hassinger's sculptures are not just static objects but dynamic experiences that evolve over time. 'Sign of the Times' is a prime example of this, as the institution is staging workshops to slowly build the sculpture over time. As the artist leads monthly workshops, the sculpture grows larger, eventually filling up the entire gallery with strange organic forms.
These workshops are more than just a creative outlet; they are a way to bring Hassinger's use of repetition to a wider audience and foster a sense of togetherness. By inviting everyday people into her process of creation, Hassinger breaks down hierarchies and power structures, allowing curators, experts, and audiences to interact as people.
Hassinger's work also delves into the politics of race and identity, as seen in her video pieces 'Birthright' and 'Daily Mask'. These works explore her family history and the complexities of identity, particularly as a Black female creator in the 1970s. Despite facing difficulties in finding her place in the art world, she found community with other Black avant-garde artists, supporting each other at a time when few others would.
The career-spanning retrospective at the Berkeley Art Museum, 'Maren Hassinger: Living Moving Growing', is a major moment for the artist. It arrives at a time when the simplicity and ecstasy of her practice are sorely needed, offering a much-needed respite from the complexities of modern life. As the curator Graham shared, Hassinger's work is rooted in caring and joy, and her intent is to open up spaces of sharing.
In the words of the artist, as paraphrased by Graham, 'If we can come together to make something as absurd as a newspaper ball, we can come together to bring love to one another always'. This sentiment resonates throughout her work, encouraging viewers to slow down, pay closer attention to the world around them, and appreciate the power of simple gestures and materials.
