In selecting the painting “Morning Sun” (1952) by Edward Hopper, one cannot help but to be drawn to the stillness of the painting, equally to the masklike expression on the model. It is an intimate scene in her bedroom; she is half undressed gazing outside the window to the vastness of what appears to be the New York City roofscape (the presence of water towers). The soft, warm morning sun engulf the room and envelopes the model, however, her presence emanate coldness; solitude; she is deep in thought and not revealing much to the audience. From her body language, she appears withdrawn as she sits to a more reserved position on the bed. Instead of exploring the obvious relationship of the model and the morning light, that of the scene, I’ve decided to dive beyond the constraints of the painting and into the relationship, marriage of the painter and model, Edward Hopper and his Wife, Josephine. Perhaps one can question what is being brought into the light as oppose to the light itself.
According to Art Historian Gail Levin, the forty-three year marriage was both passionate and turbulent (at times even violent). Deeply divided by nature – Jo; spirited, outgoing and talkative, while Edward; harsh, repressed and reserved – nonetheless shared a love for literature and French literature. It was clear that Edward dominated their marriage, which left Jo unsupported artistically, socially and sexually. As much as she adored him and served as his model, inspiration, secretary and house wife, she despised his selfishness and arrogance [1].
My chosen site is located at 3 Washington Square North in New York – the handsome greek revival "row" apartments erected during the 1830s which later became artist studios (1884) [2], served as residences for the Hoppers. Stretching beyond the brief requirements (250mmx250mm site model), the narrow long site shapes the imaginary base of their apartment. The site is layered with concrete, granite and water, which contributes to the geology of New York - Researcher Paul Whitaker explains that “Manhatten is a solid chunk of granite”[3]. In a conceptual manner, concrete represents the city; granite being Edward and water being Jo. The concrete and granite are still and have mass, except by having the water on the bottom, they become unstable and hint at friction in the scene.
The space on top, created with Perspex, wire and cork is the inverse of the room. Contained inside, Jo is trapped by her thoughts – there is no physical barrier preventing her from leaving (even the window is wide open). The space imitates a water tower and the wire that connects the site to the room meets at the top to form a bed that represents their marriage. The wire itself is rusted from the bottom giving the idea about growth, age, struggles, love and connection, quintessential to a marriage. Rather than using a single part of the model to represent their relationship, I’ve chosen the whole to describe it.
“In her container, the silence rises, drowning her purpose.”
Draws from the frustrations and struggles Jo must have endured in her marriage to Edward. As an aspiring artist herself; she devoted everything to him. I feel this narrative articulates her devotion even though they were deeply divided by nature.
[1]Levin, G., 1995. Edward Hopper, An Intimate Biography. New York: Knopf.
[2] ibid.
[3] Whitaker , Paul R., n.d. New York City and Earthquakes (accessed 15/04/10) http://www.in-arch.net/NYC/nycadd4.html
