Maren Hassinger's artistic journey is a captivating exploration of the extraordinary within the ordinary. Her unique approach to sculpture, often involving simple actions like knot-tying or breathing into plastic bags, transforms everyday materials into captivating works of art. This retrospective at the Berkeley Art Museum, titled 'Living Moving Growing', offers a comprehensive yet fleeting glimpse into her 50-year career, showcasing her ability to create magic from the mundane.
What makes Hassinger's work so fascinating is her ability to make us see the world anew. Her early piece, 'Untitled Rope', is a perfect example of this. Four thick industrial ropes, arranged in a loose macrame knot, invite viewers to imagine the potential energy of the sculpture if the ropes were pulled taut. It's a simple yet powerful metaphor for the connections we can forge when we work together.
The Power of Knots
Knots are a recurring theme in Hassinger's work, representing the intricate web of connections that bind us together. In 'Sign of the Times', she transforms strips of the New York Times into massive ropes, hanging them from gallery walls like jungle vines. This piece, and others like it, challenge our perceptions of consumerist trash, turning it into a source of wonder and humanity.
The everyday nature of knots is what makes them so powerful in Hassinger's hands. As the curator Anthony Graham notes, tying knots is a skill that spans from the mundane (tying shoelaces) to the decorative (macrame) and the industrial (ship knots). In her work, these repetitive gestures are elevated to a sculptural level, creating a shift in scale and perspective.
Reaching Out and Building Connections
Hassinger's art often serves as a means of reaching out and building connections with others. In 'Love (Pyramid)', she fills plastic shopping bags with her breath and love notes, creating a huge, vibrant sculpture. This piece, and others like it, require ongoing care and interaction, involving museum staff in Hassinger's practices of the quotidian. It's a beautiful example of how art can bring people together and create a sense of community.
The workshops associated with 'Sign of the Times' further emphasize this point. They are not just about tearing paper and twisting it into knots; they are about bringing people together and using repetition as a basis for togetherness. As Graham puts it, inviting everyday people into Hassinger's creative process breaks down hierarchies and power structures, allowing everyone to interact as equals.
Politics of Race and Identity
While Hassinger's sculptural work often focuses on the everyday and the ordinary, her video pieces like 'Birthright' and 'Daily Mask' delve into the politics of race and identity. 'Birthright' traces her family history, exploring new branches of her family tree through a meeting with her uncle. 'Daily Mask' shows her applying a grease oil stick to her face, covering herself in a depiction of blackface. These works highlight the difficulties she faced as a Black female artist in the 1970s, finding community and support among other Black avant-garde artists.
A Retrospective at the Right Time
The retrospective at the Berkeley Art Museum is a significant moment for Hassinger, arriving at a time when the simplicity and joy of her practice are particularly needed. At the heart of her artistic work is caring and joy, and her intent is to open up spaces of sharing and connection. As Graham puts it, Hassinger's work reminds us of the power of simple gestures and the potential for change when we do them together.
'Maren Hassinger: Living Moving Growing' is a testament to the magic that can be found in the everyday, and a celebration of an artist who has dedicated her life to transforming the ordinary into the extraordinary.
