There it was. It just sat there on the table, being itself.

Being the assistant, I was rather flabbergasted, in that I had no idea how it would all pan out, only seeing the points of connection to be maintained, to help with creating the tension lines. Sarah was the one with the vision, she clearly understood the conception, the evolution of where to begin.

After multiple shifts and changes, altering mount points, securing the piece to maintain its stability, we stepped back. The sunlight was disappearing quickly, so lights were brought out, different angles and positions examined. A glass of wine only added more complication, in that it helped relax from the frantic pace that was used to complete the piece, into a meditative view. Gently moving it to the studio, positioning it so that a solid background was found, we sat together staring.

What is it? At least that was my question, not Sarah’s. Coming from a background of science and philosophy my mind went to a place of explanation. The longer I sat with it, trying to understand what it was that I was looking at, the clearer it became apparent that it was disturbing and unsettling. A two dimensional drawing was staring back at me in the third dimension, a hologram of spacial objects that floated up from a world that Sarah understood.

Sarah tried her best to show patience with me, and for this I do love her so. She gently explained John Cage’s view on work, the acceptance of a thing that defies explanation. It is work that flummoxes and baffles that has value, not the that which soothes and is comfortable. The artist lives in a state of abdication to ones work, they facilitate, but are denied control. If one accepts this, the work will be allowed to happen. Shocking happy surprises occur when control is released.

As is true for love, applies to art.




About Sarah Seager

I am an artist that works and lives in the wilds of Los Angeles.
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