Negative Space

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April 27th, 2024

Negative space plays a pivotal role in the language of art, it defines the empty areas around and within objects, contributing to the overall composition, balance, and emphasis of a work. The concept has a long history in art theory, often associated with notions of harmony, focus, and emotional impact. 

In a more traditional sense, and especially in historical works, negative space creates a visual structure that guides the viewer's eye and helps emphasize key elements in a piece. By focusing on the voids, artists can evoke specific emotions and direct the viewer's attention to the central themes of a piece.

For example, in a Claude-Joseph Vernet's maritime painting, the expansive sky and tranquil waters create a serene backdrop, allowing the bustling port activity to stand out​. In contrast, Francisco de Goya's introspective portrait of an elderly man leverage negative space to evoke feelings of isolation, mental fragility, and vulnerability, enhancing the emotional weight of the artwork​.

ABOVE IMAGES:

Claude-Joseph Vernet, A Calm at a Mediterranean Port, 1770, Oil on canvas, 44 ½ x 57 3/8 in. (113 x 145.7 cm). The J. Paul Getty Museum, Los Angeles

Francisco José de Goya y Lucientes (Francisco de Goya), He Can No Longer at the Age of Ninety-Eight, c. 1819 – 1823, Brush and India ink, 9 3/16 × 5 11/16 in. (23.3 × 14.4 cm). The J. Paul Getty Museum, Los Angeles

In sculpture and installation, negative space plays a crucial role in defining shapes, creating movement, and establishing the relationship between solid forms and voids. Artists’ exploration of negative space has evolved much over time, it is not just about shaping the physical forms they create, but also about engaging with the empty space around and within their works to form part of the overall artistic expression.

Henry Moore's sculptures are known for their organic, abstract shapes that seamlessly integrate with the surrounding landscape. Moore's use of negative space is particularly notable in the way he creates void spaces within his sculptural forms, allowing the environment in which the sculpture is situated to become a part of the artwork itself. This interaction between the sculpture and its environment invites viewers to see the work from different angles and experience the changing dynamics of space and form​.

Barbara Hepworth took a similar but distinctly unique approach to negative space. Her sculptures often feature smooth, abstract forms with precise and deliberate openings or hollows that pierce through the material. These voids suggest continuity and balance, emphasising the interaction and engagement between solid and void as equally important elements of her compositions. Negative space is not merely absence but a powerful element that can define and enhance impact of artwork.

ABOVE IMAGES:

Henry Moore. Reclining Figure: Arch Leg, 1969-1970. Bronze, 102 x 183 1/2 x 81 in. (260 x 466 x 206 cm). © The Henry Moore Foundation. All Rights Reserved, DACS 2024 / www.henry-moore.org. Image credit: Jonty Wilde. Courtesy of YSP

Henry Moore, Large Interior Form, 1953-1954, Bronze, height: 201 in. (516 cm). © 2018 Artists Rights Society (ARS), New York / DACS, London

ABOVE IMAGES:

Barbara Hepworth, Single Form. Photo credit: UN Photo/Eskinder Debebe

Barbara Hepworth with one of her sculptures at Trewyn Studio, 1961, via The Hepworth Wakefield

Barbara Hepworth, Two Forms (Divided Circle), 1969, Bronze, 85.5 x 53.3 x 21.5 in. (217.5 x 135.5 x 54.6 cm). Barbara Hepworth © Bowness

Man Ray's "Lampshade" demonstrates how a simple structure can define the surrounding space, allowing negative space to shape the overall form. His "objects of affection" showcase his skill as a handyman, blending humour and innovation with spontaneous creativity. His "Lampshade" exemplifies this approach, a whimsical piece crafted from a spiral of cardboard cut from a lampshade reflector, suspended by a rod. He was so taken with the result that he presented it to Marcel Duchamp and Katherine Dreier in the hopes of including it in the inaugural exhibition of the Société Anonyme in 1920, but unfortunately, the work was mistaken for garbage and disposed of before it could be shown. The brilliant design of this minimalist form, relying on the focus on a single continuous element to suggest an entire shape, emphasizes the importance of negative space in creating visual interest​.

May Ray, Lampshade (Abat-jour), 1919/1954, painted aluminum, 60 x 25 in. (152.5 x 63.5 cm). © Man Ray Trust / Adagp, Paris, photo credit: Jacques Faujour - Centre Pompidou, MNAM-CCI /Dist. RMN-GP.

Similarly, Robert Murray and Amilcar de Castro’s geometric sculptures leverage negative space to establish balance and harmony within the composition. Their works employ planer elements to create open spaces, and often use empty areas to provide a sense of lightness, contrasting with the solidity of the geometric shapes. This balance creates a dynamic tension, where the negative space complements the solid forms, offering a sense of movement and fluidity​.

ABOVE IMAGES:

Robert Murray, Haida, 1972, painted steel, 17 x 48 x 13 in. (43.2 x 122 x 33 cm). © Paul Kyle Gallery, photo credit: Kyle Juron. WORK AVAILABLE

Robert Murray, Haida, 1973, painted Cor-Ten steel, 108 x 276 x 108 in. (274.3 x 701 x 274.3 cm). Fabricated at Lippincott, Inc., North Haven, CT. Collection of Foreign Affairs, Trade and Development Canada (formerly Department of External Affairs), Ottawa, ON.

ABOVE IMAGES:

Amilcar de Castro, Untitled, 1960, Steel, 20 1/2 × 37 × 33" (52.1 × 94 × 83.8 cm). Photo credit: Museum of Modern Art, New York.

Sculptures by artist Amilcar de Castro are displayed outdoors. Photo credit: Marcus Vinicius de Arruda Camargo)

“The 100 sculptures were installed at Sola Beach, where the works occupied part of the airport, which with its fence, becomes an analogue for all boundaries between people and elements, and more importantly, an example of the controlling devices of commerce.”

"Another Place" by Antony Gormley features human figures positioned along a beach, with negative space forming the backdrop against which the sculptures are seen. The empty space around the figures highlights the sense of isolation and encourages viewers to engage with the landscape as part of the art. The human figures are life size, a scale that enables the viewers to easily blend into and become whole with his installation. This placement of the figures across a wide expanse of beach suggests a continuity of space, extending beyond the physical boundaries of the sculptures​, this approach also invites viewers to consider the spatial context and the impact of scale, challenging us to contemplate the broader implications of space and the human presence and absence within it​.

Anthony Gormley, Another Place, Stavanger, Norway, 1998. Another Place, 1997, cast iron. Photo credit: Dag Mirestrand.

Anish Kapoor explores the relationship between solid forms and their surrounding space, with a focus on surface texture and the effect of works in a monumental scale. These works create distinctive visual experiences where the surrounding environment and viewers become part of the negative space, blurring the lines between art and its context.

"Cloud Gate" in Chicago, also known as "The Bean," is one of Kapoor's most famous installations. Its highly reflective surface and curved structure transform the surrounding space into a dynamic environment​. The sculpture reflects the Chicago skyline, passers-by, and the environment around it, making the negative space a crucial component of the artwork. This interactive element invites viewers to engage with the sculpture by walking around and even under it, altering their perception of space and challenging conventional boundaries​.

Anish Kapoor, Cloud Gate and Cloud Gate underneath shot, 2004, Stainless steel, 32.8 x 65.6 x 42 ft. (10 x 20 x 12.8 m).  Millennium Park, Chicago. © Paul Kyle Gallery

"Leviathan" is one of Anish Kapoor's monumental installations, exhibited at the Grand Palais in Paris in 2011. The massive structure is made of PVC and spans 35 meters in height, filling the vast space of the Grand Palais. The exterior of "Leviathan" contrasted sharply with its interior experience. From outside, the structure appeared as a series of bulbous forms that changed shape depending on the viewer’s perspective, playing with the architectural and spatial boundaries of the Grand Palais. This shift in perspective highlighted Kapoor’s interest in how sculptures can redefine and interact with their spaces, making the surrounding environment an integral part of the artwork. Kapoor's installation was designed to challenge and engage the viewer's senses, not just visually but also psychologically, encouraging a deeper reflection on the nature of form and the impact of scale and colour in art. The choice of a deep red for the interior was particularly significant, as it invoked a primal, visceral reaction that Kapoor intended to resonate with the viewers, connecting on a more instinctive level​.

Anish Kapoor, Leviathan, 2011, PVC, 33.5 x 100 x 72m, Grand Palais, Paris for Monumenta 2011. Photo credit: Vincent Desjardins

Lydia Okumura’s work spans installations, sculptures, and drawings, where she actively manipulates the viewers' perception of space through minimalistic yet impactful interventions. Her pieces often consist of geometric forms and lines that extend across physical spaces and surfaces, blurring the boundaries between two-dimensional and three-dimensional perceptions. In her installations, negative space is not merely a background or void but a dynamic participant that shapes the viewer’s experience of the work. This engagement with negative space invites viewers to question their understanding of depth, boundary, and the interstitial spaces within the art environment. Okumura’s use of simple, clean lines against expansive spaces emphasizes how minimal elements can transform and define the perception of space profoundly.

ABOVE IMAGES:

Lydia Okumura, Untitled I, 1980/2017, acrylic and cord, 7′ 6 1/2″ × 14′ 5 1/4″ × 5′ 10 7/8″. Installation at Pratt Institute Gallery, Brooklyn, NY 1980; SP 2017.

Lydia Okumura, In Front of Light, 1977/2015. Glass, string, and nails, dimensions variable. Courtesy of the artist and Broadway 1602 Gallery.

Neil Campbell’s work, much like Okumura’s, focuses on the sensory experience of space and form but often incorporates more direct interactions with the architecture of the space itself. His large-scale wall paintings and site-specific installations use shapes such as circles and ovals that interact with the viewer’s field of vision and movement. Campbell’s use of negative space is integral, as his works are often defined as much by the presence of form as by the absence, creating a visual dialogue between what is seen and unseen. By painting directly onto architectural surfaces or creating gaps within his installations, he makes the surrounding space a direct component of the artwork, challenging the viewer to experience and interpret space in new ways.

ABOVE IMAGE:

Neil Campbell, Bloodline, 2011/19, Vinyl acrylic wall painting. © Esker Foundation, photo credit: John Dean

Neil Campbell, On a Bridge in London, 2009/19, Vinyl acrylic wall painting. © Esker Foundation, photo credit: John Dean

Rita McBride's "Particulates" is an installation that creates and engages with an active negative space through the interaction of high-intensity laser beams with water molecules and dust particles, creating an ethereal atmosphere that redefines traditional boundaries of sculpture and installation. The installation uses laser beams to articulate space, forming a multi-helix, hyperboloid structure that only becomes visible when ambient dust and water molecules interact with the light beams​. "Particulates" uses light and space as primary elements, exchanging gravity for the potential of infinitely traversable space. The installation plays with the principles of light and quantum physics, creating an immersive environment that encourages viewers to reconsider the fundamental elements of sculpture, including mass, scale, and verticality​. McBride's approach to negative space allows for a dynamic relationship between filled and unfilled areas, turning what might be considered empty, void, or silent space into active components of the artwork, creating a unique visual experience that transforms the surrounding environment​, allowing viewers to experience this space in a completely new context.

Rita McBride, Particulates, 2017. Water molecules, surfactant compounds, and high-intensity lasers. Hammer Museum, Los Angeles. Gift of Brenda R. Potter. Installation view, Hammer Museum March 26 – November 5, 2023. Photo credit: Joshua White.

Chiharu Shiota's installations often encompass entire rooms, with thousands of strands of thread crisscrossing to create dense, cocoon-like structures. These thread installations, such as "The Key in the Hand" and "In Silence," engage with and penetrates the negative space by filling it with intricate patterns, creating a complex environment where solid forms and voids interact. The dense webs of thread can simultaneously evoke a sense of entrapment and connection, intimacy and vulnerability, allowing viewers to navigate through the spaces and contemplate the relationship between form and negative space. The complex networks of thread suggest that even in the absence of solid forms, there is still structure and meaning to be found. Shiota's approach to negative space redefines traditional boundaries of intangibility and tangibility. The use of thread to create immersive environments emphasizes the role of negative space in forming unique spatial perceptions. By reshaping the negative space, and transforming it into a tactile component of her art, Shiota encourages viewers to interact with the installations, moving through and around the web-like structures to gain new perspectives.

ABOVE IMAGES:

Chiharu Shiota, The Key in the Hand, 2015, old key, Venician boat, red wool. solo exhibition: Japan Pavilion, 56th Venice Biennale, Venice, Italy. Photo credit: Sunhi Mang

Chiharu Shiota, In Silence, 2008, burnt grand piano, burnt chair, black wool, solo exhibtion: Zustand des Seins / State of Being, Kunsthaus Centre d’art Pasquart, Biel / Bienne, Switzerland. Photo credit: Sunhi Mang

Much like Chiharu Shiota’s work, Jesus Rafael Soto's "The Houston Penetrable" is a renowned installation that allows viewers to physically interact with the artwork. This piece consists of thousands of hanging plastic tubes that fill a space, too creating an immersive environment. Visitors can walk through these tubes, experiencing a tactile and visual interaction with the work. This engagement transforms the negative space into an essential, shifting, and active component of the work. Soto's approach emphasizes the fluid boundaries between the artwork, the negative space, and the viewer, making the experience of space and movement central to understanding and interacting with the work.

ABOVE IMAGES:

Jesús Rafael Soto, Pénétrable, 1990, installation view, Los Angeles County Museum of Art, 2013. Photo credit: Tito Perez.

Jesús Rafael Soto, The Houston Pénétrable, installation view, Museum of Fine Arts, Houston, Texas.

David Spriggs, Paradox of Power, 2007, Acrylic on layered PET film in plexiglass display case, aluminum cover base, 104 x 36 x 124 in. (264.16 x 91.5 x 315 cm). © Paul Kyle Gallery, photo credit: Kyle Juron

In reconsidering the work of David Spriggs within the context of negative space and his pioneering artistic movement "Dimensionalism," profound questions arise regarding the distinctions between sculpture and installation. "Dimensionalism" challenges traditional categorizations, suggesting that what we commonly refer to as installations might better be understood as expressions of this new movement. Spriggs' creations are not merely immersive or site-specific; they are integral to the spaces they inhabit—spaces characterized by a mutable void of negative space that shifts in response to viewer interaction. This dynamic interplay between the artwork and its environment transcends conventional boundaries, proposing that these pieces do not simply exist within space but are inherently bound to it. The enduring presence of these works, irrespective of engagement, suggests a redefinition of art as an unceasing dialogue with its surroundings, creating a temporal yet intangible impact. This conceptual framework encapsulates the essence of "Dimensionalism," offering a broader, more inclusive categorization for contemporary art practices.