The metallic jewelry designed for this collection was originally meant to have a tattoo like effect, but it ended up looking more like lace.
This wood and paint structure by Sol LeWitt from 1985 is currently on view at the Hirshhorn in Washington, DC. This artwork is a typical example of LeWitt’s use of simple basic units that can be associated in multiple ways. Here, he stacked up empty white cubes symmetrically to create a sort of truncated pyramid. What I find aesthetically pleasing in this piece is how multidimensional and complex it is although it is based on something really quite straightforward.
A lot of the pieces in this entirely black and white collection look extremely pure and simple. Most of the shapes are very linear and basic, but the devil is in the details. Mirroring the intricate laser-cut headgear the models were wearing; the outfits all have intricately woven details and textures that are anything but bland.
This collection is a take on the intricate tangles between simplicity and complexity, and I think this is what makes it successful and interesting. It shows that it’s not all about color and shape and everything the eye catches at first glance but also about texture. Actually, this particular outfit reminds me of White on White by Malevich (which I should make a post about, it fits this exhibition pretty well).