Bibliography
Keys Melissa,
‘Gail Hastings: Sculptural Situations’,
Sculptural Situations: Gail Hastings,
exhibition catalogue,
Perth Institute of Contemporary Art,
Perth
2008.
Excerpt
As ‘the artist’ Hastings eschews a central position in her work in order to vacate this space for the viewer.
McNamara Andrew,
‘Making space for the invisible architecture of the social’,
Sculptural Situations: Gail Hastings,
exhibition catalogue,
Perth Institute of Contemporary Art,
Perth
2008.
Excerpt
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.
McNamara Andrew,
‘Making space for the invisible architecture of the social’,
Sculptural Situations: Gail Hastings,
exhibition catalogue,
Art Gallery of New South Wales,
Sydney
no.2.07,
2007.
Excerpt
Hastings seeks to craft space — in particular, she seeks to craft an inter-subjective 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’s evocative situations is like confronting something vaguely familiar, yet weirdly opaque.
Holdings
So she said
is in a public collection: Art Gallery of New South Wales, Sydney, 2007.
