Room for Love

The effect is like walking into an abstract painting, except to say that one may also encounter text, specifically devised furniture or intricate floor plans that actively shape the space of the work. Hastings regards her works as ‘sculptural situation’ rather than as paintings or installations, or even sculptures. Rather than adhering to a pre-existing location, Hastings seeks to craft space — in particular, she seeks to craft an instersubjective space, a social space of conversation and communication. This is at once a remarkably fraught, ambitious and fascinating enterprise. It is also one reason why the experience of Hastings’ evocative situations is like confronting something vaguely familiar, yet weirdly opaque.

Hastings thinks of our intersubjective space as a kind of invisible architecture comprised of both intersecting and dissecting personal and public-social trajectories.