coincidence at 5:51 pm

As contemporary artists rework the institutional space of the ‘white-cube’ and the agendas of modernist planning, Hastings’ practice has been a continuous erosion of the borders between built space and experience of place, furthering ideas raised by Minimal and Conceptual art. She establishes a sensibility of a site, real or imagined, subtly incorporating existing architecture into the spaces of her diagrams, objects and materials. Rather than transforming space, Hastings’ ‘sculptural situations’ make apparent their position within existing frameworks. They also problematise the role of the viewer, seeking collaborative participation in actions that have already occurred — confusing the roles of artist and audience.
As open-ended models for engagement with a location, Hastings’ seemingly cool and minimal works are premised on the transposition of individual sensibilities and subscription to communally imposed behaviour; sensations, habits, emotions, chance, memory and the movement of time. While giving the illusion of already having been negotiated, Hastings’ spaces invite new and increasingly personal encounters.