Movement and Space

In Paris I thought a lot about movement.  Looking at Calder’s kinetic sculptures outside of the pompidou, the stranger interaction between two different train cars, and the pace of running for a bus.  Noted in my journal is a quote by Eric from a group discussion which was, “If I don’t move, I have no proof that you aren’t flat.”  Movement defines our lives.  The thought of paralyzation, loss of mobility of any part of the body, or complete loss of limbs has always been a source of pity, rooted in a desire for movement, especially ease or enjoyment of mobility.  In Montmartre, I saw a man with no arms, not even stubs of arms, and I am still haunted by the concept of limited function, or limited ability to interact and move about the physical world; it is a basic, human need. 

From the moment I began this journey, movement was at the forefront of my mind.  The tiresome feat of international travel, days of walking across historic cities, up and down stairs, through amazing architectural feats, and life changing art exhibitions.  And in my final moments in Paris, a frantic run, with tears streaming down my face, desperately looking for a bus to take me to London.  Even the desire to simply inhabit other spaces on the planet, to feel the distance between our homes and our bodies, or to not feel it at all; space has a way of being beyond what is comprehendible.  

Being in Paris, and experiencing the most amazing museum and gallery exhibitions of my life has had a great effect on my educational trajectory.  I can feel a curator pushing my body through space, and understand how and why this is happening, and it is an amazing feeling.  The Ron Mueck exhibit was a defining moment of the trip, because it allowed me to really pick apart how spaces are manipulated and how viewers are orchestrated within that space, and how this creates meaning.  As a student of sculpture, I am often mesmerized by spacial relationships between physical objects, and for the first time in a very long time, I am able to better define potential career paths.  Not everyone is truly a studio artist, and while I love making and dream of having such a creative freedom, I realize that my skills and interests have many trajectories beyond studio art.  I find myself most excited when experiencing work by others, and I am starting to dig in to how the work has this effect on it’s viewers.  

My experience over the last few weeks has solidified the ground below my feet.  In a time when I was so unsure, and feeling uninspired, visiting Europe for the first time reminded me that there is so much more to see and know on the planet.  The only frustration I have is a desire to keep moving, to keep seeing new places, and to keep learning more about myself and the space around me, and defining the implications of that space.