Compression to one 1963

Here is Robert Huot's Compression to one, consisting of one single blue line against an off-white background. I'm curious how that line came into being, the sort of mark-making that seems simple but is actually very difficult. I can imagine the artist considering its placement: too far to the left? too far to the right? How many attempts to arrive at this precise, definitive mark? Look closely and you can see tiny variations in the texture and color of the line. Did it take one stroke? Two? This piece reminds me of the work of Agnes Martin or Brice Marden. It's this kind of quiet, contemplative painting that allows for a deeper engagement, where you can really lose yourself in the act of looking and thinking. The line itself, so unassuming, becomes a focal point for exploring ideas around presence, absence, and the very nature of perception. Painting can be so cool like that!