Abstract

This paper examines the competing ‘languages’ of line in Julie Mehretu’s series, Grey Area and elaborates on the implications these lines have for theories of space, bodies and, in particular, the relationship between the two. Grey Area explores what Mehretu describes as a grey and in-between space. The series is composed of seven large abstract canvases covered in an assortment of gestural tracings and neatly traced rational lines. The juxtaposition of these competing linely narratives not only creates a grey space visually, but compels viewers to stretch their bodies across the canvases and between the lined layers thus, facilitating a brief inhabitance of grey space. Building from this analysis, the paper reflects on the relevance of the lines and the stretching they elicit for examining the complexities of contemporary modes of inhabitation that often extend across multiple geographical sites and temporal modes. Thus, engaging with Mehretu’s lined abstractions draws attention to the importance of space in the production of bodily boundaries, what I call geographical and temporal bodily outlines. In addition to contributing to body-space theories, the paper also demonstrates the valuable insights gained by attending to the unique social-aesthetic analyses of visual art and artists.