Anna Tsouhlarakis
Incomplete Drawings of Decolonization
Since I began making art I have always been interested in the connections between Native American Art and Minimalism. The restraint of color and use of essential forms were especially significant in both genres of art. As my own work developed, I have continually maintained my faithfulness to these qualities whether working in sculpture, video, or installation. Conversations of decolonization abound in academia and political movements. While methods of decolonization tend to be aimed at institutions and social constructs, my research has been focused on considering the decolonization of art. The work of Sol Lewitt was identified as a starting point for my investigation. Specifically, his studies of incomplete cubes can be seen as a building block of contemporary art and a symbol of the literal cube in which art is shown. In LeWitt’s 1978 MOMA catalogue Robert Rosenblum reiterates this point, “Lewitt’s search for the building blocks of form, for the basic alphabet, vocabulary, and grammar of all structures, is one that has a deeply ingrained tradition in the history of modern art…” In defining modes of decolonization, consideration must be given to how one is “indigenized”, or how one came to be a decolonizer. In Navajo traditions, the act of binding is a technique used to teach self-control, respect, and balance within the worlds of human and nature. Cradleboards, used by nearly every Native American tribe in some form, help ease an infant’s lack of bodily control to create a space of peacefulness. As Navajos grow up, we are taught to keep our hair clean and tied back. This provides clarity of mind and positive intention as one goes through life. Throughout Navajo culture, there are many other ways this act of binding provides a way of being in the world. Translating this technique as a method of decolonization is the foundation of my current practice. The connection between minimalism and contemporary culture come together within the modern design of IKEA. In past projects, remnant pieces of IKEA furniture were sourced from the “as is” section of the retailer and used to form sculptures and installations. In this new project, the white IKEA remnant pieces become stand-ins for LeWitt’s incomplete cubes—the Western form in need of decolonization. The investigation is titled “Incomplete Drawings of Decolonization”. While LeWitt began this exploration of form, it is my intention to continue this trajectory and reimagine its destination. “I believe that ideas, once expressed, become the common property of all. They are invalid if not used, they can only be given away and cannot be stolen. Ideas of art become the vocabulary of art and are used by other artists to form their own ideas…” -Sol LeWitt, Flash Art 1973