Mon, Jan 27, 2020
I build sculptures as a way to draw, each line wrought from a material, and cantilevered into space like a structure of thought, floating, hanging, slumping, standing. The drawings are pinched, squeezed, sawed, sewn, scratched, bent, stapled, taped, and cut into being. It is a physical way of thinking.
In the best instances, artwork is thought made evident; a mysterious synthesis of the hand, mind, and eye, meeting a gesture, an emotion — a blurry and unpredictable choreography away from what is known or familiar. A woodcut becomes the blueprint for a large free-standing sculpture. A ceramic form becomes the subject for a series of drawings. An ink drawing is cut from plywood to stand alone. Disembodied polymer lines, like extended broom sticks, list and arch against the wall. From 2D to 3D and back again, each material exerting its specific behavior. My work cycles restlessly, capturing nothing but the dizzying in-between, suggesting that perception itself is fragile.
Anna Hepler (b. 1969) is a sculptor based in Greenfield, MA. She earned a B.A.
from Oberlin College and an M.F.A. from the University of Wisconsin-Madison.
A former Henry Luce Foundation fellow in Seoul, South Korea, she has
completed residencies at the Roswell Artist-in-Residence Program, the Tamarind
Institute, the Nova Scotia College of Art and Design, and the Archie Bray
Foundation. In 2016 she was awarded a fellowship by United States Artists, a
grant from the Harpo Foundation in 2018, and most recently a Nancy Graves
Hepler has exhibited widely, and her work can be found in the collections of the
National Gallery of Art in Washington, D.C., the Tate Modern in London,
England, and the Portland Museum of Art in Portland, Maine.