Hesse cuts elaborate shapes out of the acrylic sheet, layers them, separated by space to permit a number of different interactions, and mounts them on the wall. The shapes she uses derive from as many sources as one can imagine, geometry, geology, botany, cartography and so on. But the physicality of the pieces is only just the beginning. Light penetrates the colored Plexiglas casting colored shadows on the wall. Shadows from the various planar elements overlap to produce still more chromatic effects. Hesse belongs to a loose network of artists who curate and otherwise organize shows focusing on color. This association seems natural, organic and obvious. But to see Hesse’s work only through the lens of color is to miss its most significant qualities. The abstract shapes and their consequences in real space depend on projections, reflections, demarcations, combinations, and shadow. These are all states of being, more or less physical, more or less perceptible, and more or less tangible. While immersed in the sensuousness of its decorative qualities it is likely that phenomenological reflection may turn to philosophical insight.

Gil Scullion 11.22.18