And if that wasn’t already happening in the real-world spaces around us, it’s happening in this art, though what Jiménez put together feels emotionally realistic and honest in its expression, even as it relays a story that extends well outside of the level of the individual.
The geometric specificity of Jiménez’s visual aesthetic in this moving exhibition — blocks of yarn, woven in a pattern putting each length of it parallel to the next — cultivates and enmeshes you while looking at this into a sense of specific, external place. And for the artist, she was drawing from specific locations in assembling these works. “Alone (with you) at the Pond” (2025), which features the exhibition’s yarn now hanging loosely between gently leaning pine beams, refers in its title to a body of water at the Albers Foundation up in Connecticut, where she was awarded a residency.
The sweeping and magisterial — the story of our lives and movements that tends to feel like it’s moving outwards and away from us in each instance, something more than us as any individual — it’s… here.
Structurally speaking, there’s a lot of space in these artworks. The parallel threads of yarn lay next to each other rather than smothering those that lie next to them, and while formidable across their entireties, the artworks’ overarching forms also land with a certain carefulness. They’re aesthetically extremely accessible — sometimes genuinely large, even surprisingly so, but always allowing for you to easily take them in, visually. They don’t encumber; they rest, planted and growing. They’re visually ensnaring, and in the visual presence and feeling of space within these artworks, they draw you in.
The physical occupation of a place becomes something relational as much as it’s a matter of simple points in space. It’s communication, though not necessarily something cyclical or altering, at least immediately. It’s a matter of just being there. In this art, space — the basics of the locations around us, in their corners and edges and expanses: it’s simply there with you, and the two — the place and its occupant — are inseparable, weaving together.
I’m also struck by the embodiment of multiplicity and potential within this exhibition. It’s not so much a series of neat options as it is the infusion across your view and vantage point of the knowledge that change and impact, newness and duality: they’re all within reach, moving into view if not here already. Place is melded, held, treasured, and pondered more than it’s simply taken at face value within the vista of this collection of artworks. We know ourselves to be fallible and fragile, but here, the place around us: it is too. We’re met more than we know, or let ourselves know.
Jiménez’s show continues through April 26 at HESSE FLATOW.