Walking through this parklike area, the memorial appears as a rift
in the earth -- a long, polished black stone wall, emerging from
and receding into the earth. Approaching the memorial, the ground
slopes gently downward, and the low walls emerging on either side,
growing out of the earth, extend and converge at a point below and
ahead. Walking into the grassy site contained by the walls of this
memorial, we can barely make out the carved names upon the
memorial's walls. These names, seemingly infinite in number, convey
the sense of overwhelming numbers, while unifying these individuals
into a whole....
So begins the competition entry submitted in 1981 by a Yale
undergraduate for the design of the "Vietnam Veterans Memorial" in
Washington, D.C. -- subsequently called "as moving and awesome and
popular a piece of memorial architecture as exists anywhere in the
world." Its creator, Maya Lin, has been nothing less than world
famous ever since. From the explicitly political to the
un-ashamedly literary to the completely abstract, her simple and
powerful sculpture -- the Rockefeller Foundation sculpture, the
Southern Poverty Law Center "Civil Rights Memorial," the Yale
"Women's Table, Wave Field" -- her architecture, including The
Museum for African Art and the Norton residence, and her protean
design talents have defined her as one of the most gifted creative
geniuses of the age.
"Boundaries" is her first book: an eloquent visual/verbal
sketchbook produced with the same inspiration and attention to
detail as any of her other artworks. Like her environmental
sculptures, it is a site, but one which exists at a remove so that
it may comment on the personal and artistic elements that make up
those works. In it, sketches, photographs, workbook entries, and
original designs are held together by a deeply personal text.
"Boundaries" is a powerful literary and visual statement by "a
leading public artist" (Holland Carter). It is itself a unique work
of art.
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