New York


A.I.R. Gallery

Kazuko designates pattern-making as the impulse that unites humankind. Her point of view has shifted, however, from the first person, that of the individual pushing the impulse to its most refined expression (her complicated geometric string constructions from the period 1972 to 1979), to the third, an almost socio-anthropological tracing of the persistence of the urge to pattern among different cultures and in seemingly adverse circumstances. These improvised arrangements correlate rural and urban primitivism: Austrian folk ritual and Lower East Side nightlife. Their obvious disparateness actually emphasizes their one commonality, a fairly rigid ordering of objects (be they sticks or empty bottles of Thunderbird wine) to make territorial boundaries.

For Kazuko, memory itself answers to an esthetic of rhythmic placement; choosing where an event punctuates the void of time becomes a

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