Mandelas and Nebulas.
Instead of looking in awe at the latest testimony to precision fabrication, we stand in front of a large handmade object in which craft is neither obvious nor fetishized. What about the fact that the yarn and the loose, impermanent weaving of frayed strips of colored cloth invite viewers to closely examine how the work was made, as we might do while looking at the layered skeins of paint in Jackson Pollock’s “Autumn Rhythm (Number 30)” (1950)? What do we make of the disarray, the unfixed weavings and joinings? I cannot think of anyone else who makes artworks like Segre’s, particularly on this scale. And yet they don’t feel monumental or overwhelming.