Easily discarded but often associated with the idiom of not wanting to hurt one’s feelings (hence, walking on eggshells), Elyse Hochstadt’s Labour of Love installation of eggshells with a wooden swing hanging off to a corner of the piece provides the viewer with an identifiable reference – a carpet. Yet, the thought of walking on this eggshell carpet makes actually walking on it an impossibility, which proves the point that most, if not all, colloquial phrases have a sense of absurdity. The cliché as art form proves to be a laborious task for the artist as well. According to Ms. Hochstadt, this piece must be assembled every time it is shown. The appeal, for me, has mostly to do with the process in that it is meditative in nature as well as a mental and physical exercise in creating order. Without seeing the assembled piece, I gather its similarity to Andy Golsdworthy due to the organic nature of the material and precise structure of laying each shell to create the perfect amount of tension for the entire piece to be held together. Its assembly and orientation differs every single time and no eggshell is ever put in the same exact place. In addition, to take such simple material and make a rather complex visual statement, there’s a sudden barrage of activity associated to the material that comes to mind. The act of cooking, cleaning, the notion of the home, of instability and the precarious nature of childhood with the swing. This imaginary being swinging atop eggshells must rely on a force other than their own body, perhaps, to gain momentum but with a resignation that something may break. As a viewer, you either want the setting to be serene and untouched or you want to run over the eggshells like a child running after birds on a sidewalk or through crispy fallen Autumn leaves.
There is something that stops you though. What exactly is it? Love has never been such a laborious or strenuous task to understand, which probably explains its intensity.