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Cecile Abish
Cecile Abish (b. New York, NY, 1930) is an American artist known primarily for her works in sculpture and photography. Her works have been shown in many solo and group exhibitions in galleries and museums in the United States and internationally, such as the Newark College of Engineering, the Institute of Contemporary Art in Boston, and the Architektur Zentrum in Vienna to name a few.〔“Abish Cecile,” in ''Marquis Who’s Who in America'' (2013)〕 Her husband, the writer Walter Abish, wrote ''The Shape of Absence'' in 1990, based on her work.〔Ihab Hassan, “Ecliptic Art,” ''Southern Review'', 1994, 627.〕
== Sculpture ==
For many years, Abish’s primary focus was sculpture installations. She frequently combined manufactured materials, such as particle board, and multitudes of marbles.〔Barbera Cavaliere, “Cecile Abish,” review of ''Near Where I live'', by Cecile Abish. ''Womanart'' 1 No. 4 (1977): 28〕 Her work ''How 4 into 4 into 3'' (1975) consists of homasote, marbles, and baking soda. This homosote is placed upright alongside the interior walls of a room, while the floor is covered with marbles. The marbles are separated next to the homosote, creating a shadow-like effect as if the marbles were light. This is reflected by the title of the work; in one corner, four particle boards create four shadows, in the opposite corner only three shadows are visible from the four particle boards.〔Tony Smith et al, “Statements by Sculptors,” ''Art Journal'' 35 No. 2 (1975): 126〕
Abish believes in a synergy between the work and the working surface. In her view, sculpture has a significant impact on the world around it: “The thousands of marbles (to her work ''How 4 into 4 into 3'' ) add a hard but penetrable surface to the surface…this new surface is an omnidirectional translucent flowing surface.”〔 Abish further explains the harmony that a surface has with a completed sculpture after the two are one: “Everywhere surfaces await the coming of sculpting.” 〔
This idea is explored further in ''Near Where I live'' (1976), where several boards are laid on the ground, with thousands of marbles on the bare space between the boards. The boards have incisions on them in such a way that creates a channel across each board; gaps in the marbles continue the route. The result, as reviewer Barbera Cavaliere exclaims, “suggests a continuum within the structure… a sweeping arabesque motion only partially present in the incised arcs, enhancing the lyrical flow felt also in the scattered shiny marbles.”〔
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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