I have been fortunate to experience a couple of exhibitions of the work of installation artist Sarah Sze, including at the Fabric Workshop and Museum, ICA Boston, and, most recently, her divine Timekeeper at the Rose Art Museum. In those exhibitions, the objects of everyday life became a proliferation of thought and information in often room-filling installations. Some of her pieces feel like the embodiment of a cognitive map or infographics in sculpted forms.
I found Sze’s Hammock at the end of a recently published book by Yale University Press about Anni Albers. As stated in an essay about Albers’ legacy by Ann Coxon, Hammock “raises questions about the relationship between usefulness and beauty”.