Constance DeJong’s works propose no answers, offer no correctives, make no judgments. They are disciplined and smart, although that is not their purpose. They propose a transaction with the viewer devoted to contemplation, traversing self-interest and self-absorption for both artist and viewer. Quite simply, they stand for nothing but themselves. And if you are susceptible to them, they can draw you out of your daily preoccupations.
The mechanics of artistic influence are never straightforward. Most art is influenced by the ideology of previous art. Its artists create watered-down historicized permutations of their predecessor’s intentions. This has been the case, particularly, with minimalist sculpture. Constance DeJong, on the other hand has responded to the suppressed, often denied, and ever-present poetry of minimalist practice by creating a body of work that not only carries on the rigor of the practice but forces us to re-consider the stated intentions of her predecessors. This is a job worth doing and, even if it weren’t, DeJong has created work worth seeing and thinking about under any circumstances.
To learn more about Constance, visit her website.