Field, 1983 articulates Hassinger’s central formal and conceptual concerns. Composed of wire rope
bundles meticulously unraveled to resemble feathered metal stalks planted in cement bases, the piece
occupies a liminal space between sculpture and environment. Its repetitive, upright forms evoke both
the ordered density of a made landscape and the quiet irregularity of a wild field, inviting viewers to
move through and around it as they might a natural terrain. Yet the materials industrial steel and
concrete insist on a different origin, one rooted in manufacturing, labor, and the built world.

Curators at IVAM describe her work as “beyond an ecological reflection against industrialism and the
incipient climate awareness, Hassinger is interested in the tension between nature and culture, not as
opposites, but in their complex relationship and therefore her materials are transformed, overcoming
dichotomies: The hardness of steel is malleable and dialogues with the tree branches, which are
restaurant and fragile at the same time. Possibly Hassinger makes us see that, in the tension between
culture and nature, we must recover our contemplation of ourselves as natural beings, realizing in the
face of the falsification of modernity, that nature is part of our very being.”