Lynda Lowe, Nance Van Winckel
The Object of the Object
mixed media (oil,wc,wax
on birch panel)
multi-panel installation
12" x 21'

The Object of the Object

: to bound, or be
boundless. To be full
of itself, no longer

substitute for what
the eye prefers
to eat. To be meadow

at one end of the world,
money at the other,
unbitten by the body

between. To be
empty, an O
for zero, always

a portal, never
the port. Hiccup,
not horizon. No

figment of, no
sty in the eye of
the end of a page.

Nance Van Winckel

excerpted from set of four poems with artwork
                                                                COLLABORATIVE STATEMENT
                                                     Artist Lynda Lowe and Poet Nance Van Winckel

Can an object simply BE? Can its elemental state of being be separated from its use? Through our
conversations about thing-ness, we increasingly zeroed in on how our essential human mystery may be
mirrored by the essential mystery of things: what a thing IS vs. what a thing DOES.

With its protean character, the thing can be understood to be an echo, an allegory, an arrow to follow.
Consider the wonderful tension often in play between the intense functionality of a tool’s former life vs.
the haunting ghost-presence it exudes in stillness. Or yet, reflect on the biological utility of a seed pod
with its promise of beanstalk. Or contemplate the simple service of an everyday bowl and its resonant
history of rituals and offerings.

Things can exist so completely out of time, so that time itself, in the presence of things, may feel even
more like the invention it is. As witnesses to the once hard-working things’ immobility, we have been
struck by the dichotomy of their resolute absence and powerful presence.

We believe these works question western tradition’s cultural elevation of the physical over the
metaphysical. They perhaps also probe the human attachment TO things and the ever-increasing
consummation OF things.

We think of the experience of these pieces as a journey through “object land.” But along the journey, as
the looker looks, reads, and examines, the “things” become DE-objectified. They are made less “dead,”
less nailed down to denotative meaning and liberated even as they are “caught” by the installation itself.
Detail of
single panels