This series engages with Donald Judd’s untitled concrete installations in Marfa, reinterpreting their rigid forms as vessels of contention. The spatial connection between these monolithic blocks, and the perspectives they frame enable a transference of subjectivity—allowing meaning to emerge within the abstract interplay of space and time. As Witkovsky once posits, “Looking and desiring are the very bases of abstraction.” Here, I project the dynamics of quarrel onto these structures, allowing their geometric austerity to embody conflict, negotiation, and resolution within voids of perception.
