a farewell gesture

    Hopper Sunday Morning long shadows taped to ground behind hydrant and barber shop pole, slanting sheets of shade in lee of façade protrusions raking sidelight, pockets of slumbering dark in bays of windows and doors... All lateral expansion, Frank Lloyd Wright's spiral of the Guggenheim Museum in fact coiled up lateral expansion of Hopper unended street space turned inwards.


    Poorest articulation of walkable space: tunnel with light at end. Still all needed to introduce linear transport, what Hopper and Wright shunned at all cost. Those slabs of granite shining rippled water mirror of sea for floor. Pollock plains and any direction to go.


    Woman in the Sun, Morning Sun and Rooms by the Sea... A 'room' is 'a part of the inside of a building that is divided from other areas by walls and a door and that has its own floor and ceiling, an extent of space occupied by or sufficient or available for something,' Merriam-Webster.

    For someone to be there for instance. If light enters through door or window then light is there too. Somebody and light, could be in a room together as in van Eyck Arnolfini portrait, but then in sense of spouses immersed in light. Hopper model neither looks out window or is basking in the sun, firmly and freely present in space as in spaciousness. Same as in Ancient Egypt.


    Hopper Rooms by the Sea neither allow clear view of interior nor more than narrow slit of vista, one of those in-between spaces Hopper attracted by. Come in two versions: gas station case, permanent temporary place positioned in between home and some place to go such as café, hotel room, theater etc. The late paintings more of steady accommodation in landscape: Rooms by the Sea perfect example remind of Frank Lloyd Wright Fallingwater. Nobody there, best empty, not in clinical sense of some modernist architecture, rather archeologically but then not as meditation on something bygone rather new begin, archeo- from archē beginning, the way children love to build make-shift hut cannot wait to move in before dismounted by game-over.

    Fallingwater remains inviting since falling waters do not cease but attract indefinitely like rooms by the sea do not move some other place. Cf. well-built playhouse, always a nuisance! should be built to collapse or even better, roof of house ought return tabletop at next serving of snacks without delay.


  • [3175]

    Children develop rich fluent understanding of close connections within living-space by neighborhood exploration, life happening in immediate surroundings, environment of child envelope of continuous compartments sometimes magically so.

    Child presented with parcel reads foreign place brought home first step towards going somewhere else. And young receiver quick assimilation of that elsewhere in continuous space often perceived as lack of gratitude by grown-ups aspect of general disarray in children’s rooms reflect strong sense of flowing and floating continuity where tidiness is artifact.

  • [3176]

    Common denominator of Hopper Hammershøi and Frank Lloyd Wright: articulate space apart from figures portrayed, beholder helped to more subtle understanding of setting by evacuating figures figuring in space. No one does it better than Anton Tjechov affording indispensable preliminaries for anyone venturing into art and architecture, his space of set and setting remembering and dis-membering its members with surgical precision. 

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