Eva Hesse (1936-1970) German born American sculptor. During a residency she began working with found materials. Hesse then moved to NY to concentrate on sculpture and began to use latex, fibreglass and plastics, notably materials that were unstable and relatively new to sculpture. She explored themes of vulnerability and played with the idea of the chaos and control. Also used techniques traditionally associated with feminine making - wrapping, winding, threading. Eccentric Abstraction or Post-Minimalism. www.nmwa.org

Eva Hesse, Contingent, 1968, cheesecloth, latex, and fibreglass

Eva Hesse, Sans II, 1968, fibreglass and polyester resin

Eva Hesse, Expanded Expansion, polyester resin, latex, and cheesecloth, approximately 3099 x 7620mm

From https://www.artforum.com/features/an-interview-with-eva-hesse-210575/

How do you feel about craftsmanship in the process of your work?

I do think there is a state of quality that is necessary, but it is It has to do with the quality of the piece itself and . It’s not the artisan quality of the work, but the integrity of the piece . . . I’m not conscious of materials as a beautiful essence . . . For me the great involvement is for a purpose—to arrive at an end—not that much of a thing in itself . . . I am interested in finding out through working on the piece some of the potential and not the preconceived . . . As you work, or the next step combined with some vague idea . . . I and what can happen and be completely free to let that go and change . . . I do, however, have a very strong feeling about honesty—and in the process, I like to be, it sounds corny, true to whatever I use, and use it in the least pretentious and most direct way . . . If the material is liquid, I don’t just leave it or pour it. I can control it, but I don’t really want to change it. I don’t want to add color or make it thicker or thinner. There isn’t a rule. I don’t want to keep any rules. That’s why my art might be so good, because I have no fear. I could take risks . . . My attitude toward art is most open. It is totally unconservative—just freedom and willingness to work. I really walk on the edge . . .

I am interested in finding out through working on the piece some of the potential and not the preconceived

want to allow myself to get involved in what is happening

not based on correctness

nothing to do with neatness or edges

the piece itself can define or redefine the next step

completely free

(materials used) least pretentious and most direct way

I have no fear. I could take risks

just freedom and willingness to work