Enne Tesse ARTICUL CTION A C o n t e m p o r a r y A r t R e v i e w Special Issue minimal in the use of material, color, method and approach. My materials are associated with everyday practical uses. Placing them in a non- utilitarian context of art allows them to have maximum power, and opens the doors to unexpected visual and conceptual possibilities. Passageis an extremely stimulating work that was inspired by the repetitive act of slow moving hand crocheting. New York City based artist Lydia Dona once stated that in order to make art today one has to reevaluatethe conceptual language behind the mechanism of art making itself: how do you consider the relationship between the necessity of scheduling your performance andthe creative power of improvisation? Doesspontaneityplay an important role in your artistic process? Enne Tesse: Processes that require time to produce results, such as the creation of hand made fabric by knotting and crocheting, for me represent continuation, interruption, and therefore quantities of accumulation of time. “Passage” focuses on my immigrant journey from birth culture to newly acquired culture. The intersecting tubes of wool yarn represent segments of time that capture interruptions, reversals, pauses, and halts of my immigrant journey. Interlocked within the trajectory of the journey are fear of the unknown, uncertainty of the voyage, obstacles, struggles, frustration, anxiety, numbness, denial of origin, but also achievements, triumphs, accomplishments, and victories. “Passage” was created by arbitrarily connecting variable numbers of chain stitches to produce intersecting tubes of wool yarn, each of different lengths and widths. I believe my approach toward the repetitive act of chain stitching was actually very spontaneous and unpredictable, like a journey can be. Tying the