"Only with the pigment drawings, where the technique has given me a known way in through many years of practice, do I have a consistent entrance. For the rest of it — the photo work, writing, watercolor drawings, artist’s books, the sculpture installations and the occasional performance — the entrance comes by discovery each time: a thought or unexpected insight, a misunderstanding, a coincidence, a mistake, a moment that separates out from previous ones."
Roni Horn, Air Burial, cast glass 2017-2018, Pola Museum of Art, Hakone 2021-2022, photo by Masaya Hudaka
"...the “what it looks like” bit only comes in after the exploration, in a sense. It evolves out of the exploration. To have that option kept open until the very end or close to the end is very high risk for me. But then again, in my work, things do come to an end. They don't they don't just keep going on. So my point is, there's nothing until there's something — and that's a high risk proposition."
Roni Horn, Gold Field (left) 99.99% pure gold foil (annealed) 1980/1994; and Bouquet of Emily (right) solid aluminum and cast white plastic, 1 of 6 parts, 2006-07, Pola Museum of Art, Hakone 2022, photo by Koroda Takeru
para 1: via The New York Times 2021 Roni Horn Shares a Timely Record of Solitude
para 2: via The Talks 2021 Roni Horn: There's Nothing Until There's Something