Where One Aligns: An Interview with Connie Goldman, by Brent Hallard, Visual Discrepancies blog, February 12, 2010

Brent: In “Treble II” you have an envelope-proportioned structure that has a fold but not like an envelope. There is a corner missing from one side: And a corner protruding from the other. The whole thing is one sheet of color, and of two forms… how did that come about?

Connie: In the “Treble” pieces I’m working with parts of a whole, hence the single color. As to whether these parts become a single entity or are in the process of individuation, well… it can go either way. That’s the point – the uncertainty.

Transformation, the presence, and a stimulus are all part of the move. There is always a “present”: And there is in every piece a “movement” just as there is a pull to and away from gravity. I work a disturbed equilibrium. And it’s there where I find the accord.

I’ve worked off the square/rectangle shape for years. This four-cornered parallelogram is static, constant, perfectly composed. But I take that parallelogram and cut into it, knock it off balance. I have it strive toward another less stable shape and then strive back for perfect containment. The shape wants to stay intact, but countervailing forces are always eroding and pulling at its perfect equanimity. The differing depths of the components in the piece are intended to enhance the notion that this is a changeable, morphing form…”