Her works address how we relate and respond to the environment, and presents new ways of looking at the world around us. Lin takes micro and macro views of the earth, sonar resonance scans, aerial and satellite mapping devices and translates that information into sculptures, drawings and environmental installations. Utilizing technological methods to study and visualize the natural world, Ms. She peers curiously at the landscape through a twenty-first century lens, merging rational and technological order with notions of beauty and the transcendental. ![]() Landscape is the context and the source of inspiration for Ms. As the ABOUT section of her website explains: ![]() From huge earthworks to delicate sculptural work in galleries to recycling churches – variations in scale and material don’t seem to daunt her – architectural scales and sensibilities at their best. Since then, she’s gone against conventional advice to focus on one pathway and pursued a career in both architecture and art, using each to inform the other. Quiet and reflective, Il Cortile Mare referenced her previous work in the show, and created a necessary reference point for viewers.While researching artists who use maps or mapping in their work, I’ve been looking at the work of artist-architect, Maya Lin, who ‘made it’ in the art world whilst still a student, with her winning design for the Vietnam Veterans Memorial in Washington DC, “ where she cut open the land and polished its edges to create a history embedded in the earth”. In the Roman light, the waves and ever-changing shadows played off the courtyard’s warm-colored exterior. Maya Lin played on the material and its rich Italian- and Roman- history, and pursued an additive process as opposed to a subtracted, she referenced the form of earlier work, like the grass-covered Wave Field (1993-1995) at the University of Michigan, and the material of others. ![]() Shaping marble pieces from Siena into a series of abstracted waves. In this sea of documentation, the show’s highlight was the site-specific installation Il Cortile Mare (1998) in the Academy’s courtyard. Maya Lin’s architectural designs included her Weber House in Massachusetts (1991-1993), and a Private Apartment in New York (1998)- which recalls the carpentry and reconfiguration of Gerrit Rietveld’s Schroder House in Utrecht (1924)- and they both show a confluence of her sensibilities across the sculpture-furniture-architecture continuum. Problematically, while the form is beautiful, the material is ungiving-sitting on the surface and form is a memory that linger. Cast in cement with subdued green, blue, yellow, and red colours, they function as combined sculpture/furniture in abstract, curved, and flattened geometric shapes. In an accompanying catalogue Maya Lin expresses admiration and interest in the work of Richard Serra, Robert Irwin, Michael Heizer, James Turrell, and, particularly, Robert Smithson.įor furniture design, Maya Lin displayed her indoor/outdoor Stones tables and stools for Knoll (1998). Water bubbles over the form refer to Martin Luther King Jr’s quote, ".Until justice rolls down like waters and righteousness like a mighty stream." On The Woman’s Table the number of women admitted to Yale since its founding are displayed. In the Civil Right Memorial, the dates and descriptions of key events in the Civil Rights struggle are listed along the edge of a flat circular form. Text is an important component in these designs- for the Vietnam Veterans Memorial, the war dead are listed in chronological order- instead of alphabetical. Montgomery, Alabama, and The Women’s Table (1990-1993), at Yale University. Representations of the Vietnam Veterans Memorial were situated with other sculpture, including her Civil Right Memorial (1987-1989). For the most part, her designs were represented by a series of maquettes, photographs, and drawings. Maya Lin’s work crosses the boundaries of sculpture, furniture design, and architecture. Since that time, the memorial has become influential, with critic Vincent Scully calling it "the most significant work of architecture to be constructed in the United States during the second half of the century." This show, Maya Lin’s first in Europe, chronologically drew from this landmark starting point and showed fifteen three-dimensional projects. Reductive in nature, she challenged notions of what a war memorial should look like. ![]() 1959) emerged on the art scene at the age of 21 with her controversial design in post-war sensitive America. Best known for the Vietnam Veterans Memorial (1981-1982) in Washington D.C., American artist-designer Maya Lin (b.
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