12.07.2015 Views

Points of Departure: Conversations with Hazem el Mestikawy

Points of Departure: Conversations with Hazem el Mestikawy

Points of Departure: Conversations with Hazem el Mestikawy

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62 Interviewsput together this work. I designed the work andthey executed it, so it is industrially producedout <strong>of</strong> wood pan<strong>el</strong>s suspended by wire. And, it’smade for this particular location and space...KK It’s amazing that something that looks somassive and structural is in fact suspended.HM …That’s why it is called Red in Space.a lot, but I have something different in not usingindustrial materials. I like to use my hand andmy existence in the work its<strong>el</strong>f, my circumstanceis in the work. This is why I’m not casting myworks or I’m not building this out <strong>of</strong> aluminum.I like to do it like this- it’s there , I’m there.KK We’ve talked about architecture in yoursmaller, more modular works where there is anarchitectural component, but this is the first thingthat is actually on the scale <strong>of</strong> an architectural<strong>el</strong>ement, and becomes one in a space where ithumbles the human form. But also, it is false,a trick <strong>of</strong> the eye—since it isn’t supportinganything—in fact, it’s entir<strong>el</strong>y dependent ona support mechanism. There’s something veryplayful about it…you’re playing <strong>with</strong> space andarchitecture in a very different way. And, as yousaid, it is a marked departure from your otherwork in that it is entir<strong>el</strong>y red and has no neutraltones or references to language.HM It was a good chance for me to do thisexperiment, to work <strong>with</strong> this size, and to dosomething site-specific that was designed forthat space.KK But for your next projects, such as NineRed Squares #3, you returned to your signaturematerials - cardboard and paper.HM Yes. There is a change that happens inthose materials. If you are aware <strong>of</strong> them, youusually know where the change is going. Andthis is why I really like the kind <strong>of</strong> paper I use.It acquires a special tone over time. You sensethat it’s getting old, but not destroyed. It has akind <strong>of</strong> life - existence. This is what I like inthe work - that it’s living. This is why when Irefer my works to the masters <strong>of</strong> minimal art (as<strong>with</strong> Red in Space), for example, I admire them


Interviews63

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