Maya Lin: Artist Statement
Blue Lake Pass, 2006; Maya Lin. Duraflake particleboard, 20 3'x 3' blocks, 18'x 23'overall.
One of the most intriguing and outspoken individuals in the art world today is the sculptor, architect and environmentalist Maya Lin. The art critic Michael Brenson has described Maya Lin as "One of the rare few who have managed to forge a path in both art and architecture.” Lin uses recyclable and natural materials to bring attention to important environmental issues. Her work ranges from wood and stone sculptures, to architectural buildings and landscapes, and finally to balls of plastic toys representative of the destruction of the environment. One of her most striking pieces and one that effectively represents her work is shown above. This piece is titled “Blue Lake Pass.” The sculpture resembles a portion of the Rocky Mountain terrain. Lin mapped out grid lines from a topographic map of the terrain and cut the contours on wood using software. The piece was created by vertically gluing sheets of particleboard together, forming the contours of the Rocky Mountain terrain. The pieces were positioned with gaps between them to allow onlookers to move throughout the work. Lin describes this experience for the viewers as such, “I wanted to shift one’s perspective about the land, allowing a viewpoint is more geologic in character.”
Water Line, 2006; Maya Lin. Aluminum tubing and paint, 34'10" x 29'2" x 19'.
“Blue Lake Pass” was shown in a gallery respectably titled, “Three Ways of Looking at the Earth” in late 2009. Within in that gallery was the piece, “Water Line” that Lin created using Aluminum Tubing.This piece represents the contours of a particular underwater location on the Mild Atlantic Ridges. By using wire, Lin is able to give this terrain a ghostlike existence that we can see through. Lin worked with scientists at Woods Hole Oceanographic Institute to render the seascape, and then translated it into an architectural scale. The sculpture is viewable from above and beneath, bringing attention to what lies beneath the water. This is one of many water line pieces Lin has created over her career, most of which are in permanent locations.
Wave Field, 1995; Maya Lin. Earth and Grass, 90 Sq ft.
Currently, Maya Lin is represented by The Pace Gallery in New York City. She has had many solo and group museum exhibitions across the United States and abroad. The intriguing aspect to Lin’s work is that many of her pieces are permanent. For example, Lin has done numerous memorial pieces such as the “Vietnam Veterans Memorial” located in Washington D.C., ”The Civil Rights Memorial” in Montgomery, Alabama, and “The Women’s Table” in New Haven, Connecticut. Not only has she created memorials, but she has designed many architectural buildings ranging from chapels, homes, and museums. Lin has also developed various landscape architectural pieces such as “A Fold in the Field” in New Zealand, “Storm King Wavefield” in Mountainville, and “Flutter” in Miami, Florida. Maya Lin describes her wide variety of projects as, “Even though I build buildings and I pursue my architecture, I pursue it as an artist. I deliberately keep a tiny studio. I don't want to be an architectural firm. I want to remain an artist.”
Vietnam Veterans Memorial 1982; Maya Lin. Gabbro, 246 ft x 10 ft.
Maya Lin’s career started in controversy. At the age of 21, Lin won a public design competition for the “Vietnam Veterans Memorial”, beating over 1,400 other entries. Her conception for this memorial was to create a wound in the earth to symbolize the gravity of the war and loss of soldiers. Once Lin’s ancestry was revealed, she received heavy criticism and harassment from prominent businessman and politicians. Many outspoken veterans were quoted as being disappointed or offended at the “unattractive” memorial. Lin defended her design in front of the United States Congress and eventually was able to finish building the memorial. Thirty years later, it is hard to believe that one of the most visited and appreciated memorials had been so controversial. This was one of the first instances where Lin’s work was unappreciated and was not considered “beautiful.”
Ecliptic, 2001; Maya Lin. Various materials.
Lin’s career did not falter after the “Vietnam Veterans Memorial” controversy. A few years later, Lin was commissioned and designed the “Civil Rights Memorial” in Alabama. Lin designed the overhead clock “Eclipsed Time” in the Pennsylvania Station located in New York. She designed “The Women’s Table” located at Yale University, the “Museum for African Art” in New York, the “Langston Hughes Library” in Tennessee, and “Ecliptic”, a skating ring that represents the night sky from beneath the ice, located in Michigan. Each of the pieces are designed in a timeless way, where the narrative and experience translates to viewers from any era. Lin’s ability to utilize nature and permanent materials when creating memorials creates an emotional experience that will never depreciate over time.
Disappearing Bodies of Water, Arctic Ice, 2013; Maya Lin. Stone.
Lin’s work is coming from a specific and outspoken place. Each piece, including her memorials, are linked with nature and the environment. Each piece uses a natural resource, such as Grabbo stone for the “Vietnam Veterans Memorial”, particleboard for her “Systematic Landscapes”, and stone for her “Disappearing Bodies of Water”. Lin’s pieces speak from her stance on the environmental issues society struggles with today, displaying them and asking questions. Maya Lin’s goal is “to give people a different way of looking at their surroundings.” When viewed, onlookers leave with a sense of understanding and appreciation for the environmental concerns Lin represents.
Lin’s designs do not express any racial or gender discussions. In fact, when viewing her work, the viewer feels an overwhelming sense of androgyny in the face of Mother Nature. The work gives the viewer a sense of community and takes away the separation of the individual. The environmental concerns society is dealing with are representative of everyone. Everyone is responsible and everyone is involved in the discussion.
The perception of Lin’s work has changed over the course of her career. After the “Vietnam Veterans Memorial” controversy, Lin shaped her career despite racial prejudice and disappointment. Now, Lin is appreciated and looked fondly of as an artist. In a more accepting society, Lin’s work is one of thoughtful consideration and outspoken perspective. Her voice is strong and clear within her work and gallery showings. Lin creates pieces that are making a difference in how we think and function. There are always critics that are not fond of certain works and Lin is no exception. She faces the occasional negative review regarding her perspective on the environment, but rarely any criticism about the quality of her work.
Because of the detailed depth of Lin’s work, she is not alone when designing and creating her work. Now further in her career, she has many individuals working for her. She has assistants who are architects, scientists, and craftsmen. She works with many institutes in regards to projects, such as creating terrains and following natural events. Lin uses technology to create her work, from satellite photos to software that cuts the terrain in stone. Lin utilizes technology to assist in her narrative, but creates natural pieces out of recyclable material.
I have followed Lin’s work for the last few years, ever since I discovered her “Ecliptic” piece and the beautiful narrative of the constellations beneath ice. I chose her as my artist statement essay because of her versatile and outspoken perspective concerning environmental issues. I find Lin to be a strong and brave artist, one that has lived through controversy to continue her quest of environmental statements. I also am intrigued by her ability to break through barriers of gender, racial prejudice and social stigmas. Lin is a great artist who is underrated and too unknown within the United States. She has changed the way I see environmental art and how I view the creation of public art such as memorials.
