Beckenstein: When Sculpture published a previous interview with you
in 2003, your work was very different. In broad strokes, how would you characterize the changes?
Sarah Sze: I came to art with more training in architecture and painting. Now, I have a whole new language of sculpture. My earliest sculptures were flat, on the ground. They didn’t explore the fundamental things that you can’t accomplish in painting, like gravity and movement in the round. So, the sculpture became about how the work reveals itself as you move over time through a complicated architectural space. In Things Fall Apart, for example, something as familiar as a car—it’s abstracted from far away—becomes something else as you become more intimate with it. Those works had to do with things put into spaces. The work in “Infinite Line” has to do with what’s left out of spaces. It is a very minimal show in which negative space is as important as positive space. Everything is shaved down to its structure...see the entire article in the print version of September's Sculpture magazine.