Rendered into a sculptural form, it became a three dimensional spectacle into which the viewer could venture. This work became a curious portrait of Stella that represented the ambiguous nature of the intention and interpretation of artworks - by artists and critics alike. A labyrinth which has no solution, unlike that final one advocated by Nazism, and uneasily evoked by the title of Stella's work -taken from the first phrase of the official marching song of the Nazi party. The referential potency of political symbols is undeniable, but unclear with Stella's work. The viewer can choose how far they want to pierce that secret space.
Gesture means demonstration, or indication, which in turn implies manifestation.
Thus, the gesture of the brush stroke has become display, or 'dis-play', as the titles of Temin's works of the past two years attest. In Indoor Monument . . . Hard Dis-play , the gesture of the brushstroke was quite obvious. Indoor monument . . . Soft Dis-play played out perception as a corporeal act.