“One of Judd’s main interests was space. Once he had discovered, in the early 1960’s that space provided him with more possibilities than the two-dimensional canvas, he made it a central subject of his work.” (Stockebrand, 2011:6)
-Am becoming more aware of the space that I occupy and how I can create works that exist in a particular space; how the works develop based on the space they will occupy.
“This is where Judd was adamant: space has to be understood and therefore open in some fashion. It should not be concealed. Space has to have clarity. With clarity it can be simple.” (Stockebrand, 2011:6)
“Here the wood’s grain constitutes the “decorative” surface (as galvanised iron does in metal). Judd had begun his career as a painter and colour remained a profound interest throughout his life. An object (e.g., a work of art) without colour was not conceivable for him. However, over the course of the years the relationship of material and colour changed. Initially paint was applied onto the surface of the support material, but once he began using metals their inherent hues were the colour. Colour wasn’t added, it was integral.” (Stockebrand, 2011:8)
Untitled, 1978, Douglas Fir Plywood, (pictured)
-Slowly realising that this is somewhat reminiscent of my progress and journey throughout the third year. That surface has become as important as what is applied to the surface, and sometimes, the simpler the application, the more the surface is able to talk for itself.
“The floor piece illustrated here is constructed with such a slanted divider; it runs from the centre (at top) to the corner (at bottom). It cuts the space into one and three quarters, resulting in a smaller triangular space on one side, and a larger trapezoidal volume on the other. But this mathematical approach is barely an explanation of what the division does to the space; as in real architecture this space, too, has to be perceived from more than one standpoint and at more than one time of day. The fascination largely results from the impact of light, which – depending on its angle- may be captured more fully in the smaller area, making the larger one appear darker, or vice versa. Of even greater fascination is the fact that while the configuration is entirely understandable, the interior is not entirely perceivable at once, or from any one standpoint. Some areas remain obscure. Nevertheless, while looked at from various angles the interior does open up in beautifully different ways.” (Stockebrand, 2011:8)
Untitled, 1978, Douglas Fir Plywood
“”Colour and space occur together,” was his statement, adding that it had never occurred to him to make sculpture without colour.” (Stockebrand, 2011:16)
“While Albers noticed a visual movement forward and backward between certain combinations, Judd was looking for their actual expansion in space.” (Stockebrand, 2011:16)
– The presence of a colour in its surrounding space
“There is an impression of movement, suggested by the different positions of the dividers, creating zones that are wider or narrower and lighter or darker, while the entire interior remains completely open and transparent.” (Stockebrand, 2011:28)
