Amalgamation Through Art As An Impatient Preschooler Essay examples

Amalgamation Through Art As An Impatient Preschooler Essay examples

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Amalgamation Through Art

As an impatient preschooler, I could never comprehend Picasso or Rembrandt; they were both too complicated and abstract for me to wrap my head around. But my first true moment of understanding art got me hooked for a lifetime. When I was five, I took a special trip to Central Park in New York City during the winter with my father. It was on this cold, February afternoon that I experienced public art for the first time. I unexpectedly found the familiar gray winter landscape juxtaposed by saffron-colored waving flags. As a simple-minded child, I thought the orange sheets of material flapping in the chilling winds were strange. They were big, bold, and orange. They moved high above my head and made loud whipping noises. I thought, why? But then something clicked— the minimalistic approach was comprehensible. I liked them. I did not have to sit still and be quiet to appreciate the work. I could be a five year old girl; I could laugh, skip, dance, scream, and run through the colorful structures, and no museum security guard could stop me. Not even reaching the height of my father’s waist, I was dwarfed by the massive sixteen-foot structures that towered above and were both magnificent and magical. I was surrounded in a blur of orange as the flags moved in the wind. I had never seen anything neither as colorful nor as grand before. My father had brought me to see The Gates by Jeanne-Claude and Christo Yavacheff.
We ventured under the 7,503 gates of steel and nylon and walked the reimagined pathways of Central Park. By doing this hand in hand, my father and I were brought together through art just as hundreds of thousands of others had. The Gates of Central Park called for viewers to interact by circumambul...


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...pping and fluttering of the flags in the winter breeze. I can feel the warmth the orange gates brought against the cold February air. But emotions aren’t my only source of memory. On that February morning, I was but one of a million visitors that took home a piece of The Gates. One million pieces of saffron-colored nylon—pieces of art history themselves—were distributed as souvenirs. I guard my little piece of art history to this day in a jewelry box in my room, where it lies with my grandmother’s pearl earrings and mother’s diamond ring. Cut into a little square, the piece’s edges are jagged and the nylon material is rough, yet smooth to the touch. Although not built to last, my piece escaped the destruction of the artwork and remains almost immune to time. Today, little hairs and fibers fray off of my souvenir, a mark of its age. But its bold color has yet to fade.

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