Paul Sietsema’s Green Line (2012) rethinks representation through the metaphor of the brick: an object that exists in multiple states at once, referring only to itself while continually changing over time. Rejecting the idea that materials are passive matter shaped by form, the text argues that clay and form actively negotiate with one another in the process of becoming. A brick is not fixed, but continually individuated, eventually returning to dust. Artworks similarly exist as temporary configurations within an ongoing cycle of transformation, resistance, and decay.
