are flowing structures consisting of a conglomeration of small-scale
household items that respond to and infiltrate the surrounding
architecture. Like the information flow of the World Wide Web, her
compositional language takes form by successively linking small bits of
discrete information into a complex network. With an intensity born of a
laborious patchwork technique that is at once painterly and sculptural,
the interplay between individual components and overall structure allows
Sze to explore the boundaries between art and everyday life.
Sarah Sze, Seamless, 1999, mixed media, site specific installation (installation views and detail)
Sarah Sze began showing her work in 1996 in New York at the SoHo Annual and at P.S. 1 Contemporary Art Center, Long Island City, New York (1997). Since then she has been included in several major international exhibitions, including Cities on the Move, Secession, Vienna, and Migrateurs, Musée d’Art Moderne de la Ville de Paris (1997); Manifesta 2, European Biennial of Contemporary Art, Luxembourg, and Berlin Biennial (1998); and 48th Venice Biennale (1999). Solo exhibitions of Sze’s work have been presented at White Columns, New York (1997); Institute of Contemporary Art, London (1998); Museum of Contemporary Art, Chicago (1999); and Fondation Cartier pour l’art contemporain, Paris (1999-2000).
1997 School of Visual Arts, New York
Kastner, Jeffrey. “Discovering Poetry Even in the Clutter around the House.” New York Times, 11 July 1999, 36.
Museum of Contemporary Art, Chicago. Sarah Sze (1999). Exhibition catalogue, texts by Francesco Bonami and Staci Boris.
Institute of Contemporary Art, London. Sarah Sze (1998). Exhibition catalogue, text by John Slyce.
Hanru, Hou. “Sarah Sze.” Cream. London: Phaidon, 1998.