![]() I see my large-scale works as sculpture, although they exist, at times, in the same place as landscape architecture or architecture. For instance, I’m working on a series of landscape reliefs built up on sheetrock and then cut and inserted into a regular architectural wall. In my studio works, I often create an ambiguity between the work and the gallery space. It’s more labor intensive, incredibly cumbersome, and got me into trouble in my training as an architect. And as for the models, on any given day, models cover the floors-for everything from a detail of an architectural project to one of the sculptures. Writing can help clarify the ideas within the works, as well as help me see what the experience of a work will be. It’s probably why I rely so much on writing and making models. In making these works, I think in terms of one’s experience walking through them-I see them as spaces in relation to time. I am less interested in creating sculptural objects than in exploring sculpture as built environment. Maya Lin: I see myself as a sculptor who incorporates spatiality into her work. Jan Garden Castro: How do you define your work as a sculptor? I am always trying to find a balance between these opposing forces, finding the place where opposites meet.” As she says, “I feel I exist on the boundaries, somewhere between science and art, art and architecture, public and private, East and West. Lin’s work often integrates a scientific and/or historic component into a living form, a reminder to treasure earth and stone, time and space. Untitled (Topographic Landscape)(detail with Avalanche), 1997. Of her deservedly famous Vietnam Veterans Memorial in Washington, DC, Michael Kimmelman has said, “It is the closest public art has come to an alternative to the heroic public sculptural ambition of Michelangelo or Bernini.” Lin’s sculptural projects include Ten Degrees North (a water/stone table of the world from the perspective of 10 degrees north that serves as the centerpiece of Lin’s granite, wood, bamboo, and cane interior for the Rockefeller Foundation’s headquarters) and the Penn Station solar clock Eclipsed Time. Her public art projects evolve in response to a particular site and humanist mission. Site is an important facet of her vision. Her book Boundaries (Simon & Schuster, 2000) navigates her multi-faceted career as an artist/architect and articulates the distinctions-and connections-she has drawn between each field. And an as-yet-untitled project for 2003–04, an enormous earth sculpture in Miami, is underway. The character of a hill, under glass (2002), a curving floor for a winter garden at American Express Financial Advisors in Minneapolis, is her latest finished work. Her 1998 traveling exhibition, “Topologies,” contained several small-scale works whose new ideas she has further developed in large-scale projects, including Ecliptic, the redesign of a 3.5-acre park in Grand Rapids, Michigan, completed in September 2001. Maya Lin: Topologies, a monograph spanning the past 30 years of her career, was first released in fall 2015 by Skira Rizzoli and is in its second printing.Ecliptic, 2001. Her book about her work and creative process, Boundaries, is in its fifth printing with Simon & Schuster. The 1996 documentary about her, Maya Lin: A Strong Clear Vision, won the Academy Award for Best Documentary. ![]() ![]() ![]() Her interest in landscape has led to works influenced by topographies and geographic phenomena.Ī member of the American Academy of Arts and Letters and the American Academy of Arts and Sciences, she has been profiled in TIME, The New York Times Magazine and The New Yorker. Lin’s art explores how we experience and relate to landscape, setting up a systematic ordering of the land that is tied to history, memory, time, and language. From the Vietnam Memorial, which she designed as an undergraduate student at Yale, to The Civil Rights Memorial in Alabama and the Women’s Table at Yale, she makes our history part of the landscape. Lin’s memorials address the critical social and historical issues of our time. In 2009 she was awarded the National Medal of Arts - the nation’s highest honor for artistic excellence. Lin’s installations, studio artworks, architecture, and memorials, such as the Vietnam Veterans Memorial, become a part of the land, merging physical and psychological environments and presenting a new way of seeing the world around us. An Evening with Maya Lin: At the Intersection of Art and ArchitectureĪrtist and designer Maya Lin interprets the natural world through history, politics, and culture, creating a body of work that balances art and architecture. ![]()
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