Associated with a radical shift in sculpture known as post-minimalism, Saret’s most important works are all volume and no mass. Porous to the surrounding environment, Haah uses a flexible, industrial material as well as irregular, organic forms that register the downward pull of gravity. Haah’s delicacy and discontinuity, a direct riposte to the solidity and stability of Minimalist sculpture, is characteristic of Saret’s sculpture, as are the shadows it casts on the floor or platform underneath it, which trigger a play between reality and illusion as well as sculpture and drawing. Symbolism is important to works like Haah: many of Saret’s twisted wire sculptures evoke clouds, clusters of galaxies, primordial matter, and alchemical processes. Some of the artist’s thinking about the work he created after 1971 reflects his residence in India, where he came to understand art in increasingly spiritual and ritualistic terms.
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Alan Saret (American, born 1944), Haah, 1982. Stainless steel; 137.2 x 152.4 x 121.9 cm. Museum purchase, Fowler McCormick, Class of 1921, Fund (2013-13)
Princeton University Art Museum.
https://artmuseum.princeton.edu/art/collections/objects/86377
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