No title (Selfportrait),Eva Hesse 1960,Oil on canvas 45.7 x 40.6 cm /18 x 16 in © The Estate of Eva Hesse,Courtesy Hauser & WirthHeather was born in 1936 to a Jewish family in Hamburg, Germany.At that time, Germany was going through Nazi rule, Jews were persecuted in an all-round way, and the Heather family left their homeland and moved to the United States.Experienced the horrors of war and the subsequent family breakdown and mother's suicide, Heather's childhood can be described as a turbulent childhood.However, this did not affect Heather's pursuit of art.He graduated from New York's School of Industrial Art at the age of 16, and the following seven years of study and internship experience are very rich.Heather received a bachelor's degree from Yale University in 1959.At Yale, she studied with Josef Albers, deeply influenced by Abstract Expressionism.No title,Eva Hesse,1963,Oil, collage and decollage on canvas,125.7 x 125.7 cm / 491/2 x 491/2 in© The Estate of Eva Hesse,Courtesy Hauser & WirthAfter graduating from Yale, Hesse returned to New York, where she befriended many other young minimalist artists, including Sol LeWitt, Donald Judd, Kusama Yayoi Kusama et al.She had a very close correspondence with Sol LeWitt, and a letter LeWitt wrote to Heather in 1965 not only documented their deep friendship, but also addressed the problems many artists would face.He encouraged Heather: "Do it! Let go, be bold, and do it freely!"Legs of a Walking Ball,Eva Hesse,Leeum, Samsung Museum of Art, Seoul,Varnish, tempera, enamel, cord, metal, papier- cache, unkown modeling compound, particle,board, wood,45.1 x 67 x 14 cm /17 3/4 x 26 3/8 x 51/2 in © The Estate of Eva Hesse ,Courtesy Hauser & WirthRingaround Arosie,Eva Hesse 1965,The Museum of Modern Art, New York NY, Fractional and promised gift of Kathy and Richard S.Fuld, Jr.Varnish, graphite, ink, enamel, cloth-covered,wire, papier-cache, unknown modeling, compound, masonite, wood, 67.5 x 42.5 x 11.5 cm / 261/2 x 16 3/4 x 41/2 © The Estate of Eva Hesse,Courtesy Hauser & WirthHeather has a special preference for latex.Critics believe her penchant for rubber as a creative medium is directly related to sex."The immediacy may be one of the main reasons Heather was drawn to latex," says art critic John Keats. Heather's two original works, Schema and Sequel ” used the material, and in a way that latex manufacturers found bizarre.For Untitled Rope Peice, Heather uses industrial latex: once the latex has hardened, she uses wire to hang them from walls and ceilings.Industrial latex is generally used for castings.Heather treated it like paint, brushing layer after layer to create a smooth but irregular surface with ragged edges like ragged paper.Schema,Eva Hesse,1967,Philadelphia Museum of Art,Philadelphia PA,Latex,106.7 x 106.7 x 3.8 cm / 42 x 42 x 11/2 in © The Estate of Eva Hesse ,Courtesy Hauser & WirthSequel,Eva Hesse,1967,Latex, pigment, cheesecloth,Installation,variable. Sheet 76.2 x 81.3 cm / 30 x32 in © The Estate of Eva Hesse,Courtesy Hauser & WirthHang up,Eva Hesse,1966,The Art Institute of Chicago, Chicago IL,Gift of Arthur Keating and Mr. and Mrs. Edward Morris by exchange, April 1988,Acrylic, cloth, wood, cord, steel,182.9 x 213.4 x 198.1 cm© The Estate of Eva Hesse,Courtesy Hauser & WirthHeather is considered an anti-form artist.Her work embodies the spirit of minimalism with simple shapes, refined lines, and controlled color.American art critic Barry Schwabsky describes her work at the Camden Arts Centre in London: folded, stacked, twisted, twisted, folded, flattened, treated differently Things are connected; some materials are used in unconventional and complex ways.In their original texture, they seem to have an intended state, but Heather completely subverts the way they are presented.All of her work, especially her paintings, is a wonderful combination of sophistication and simplicity, with a shuddering beauty.Repetition Nineteen III,Eva Hesse,Installation variable, 19 units,Museum of Modern Art, New York NY, gift of Anita and Charles Blatt, 1969,Fiberglass, polyester resin © The Estate of Eva Hesse Courtesy Hauser & Wirth Photo: Abby RobinsonAught / Augment,Eva Hesse,1968,Installation variable, 4 units,Installation view, '9 at Leo Castelli', Leo Castelli,Warehouse, New York NY, 1968,Copyright for the Harry Shunk and Shunk-Kender Photography Collections is managed by the J. Paul Getty Trust. Latex, canvas, polyethylene sheeting, rope and unidentified materials, metal grommets. © The Estate of Eva Hesse,Courtesy Hauser & Wirth,Photo: Shunk-KenderNo title, Eva Hesse, 1970, Whitney Museum of American Art, New York NY, purchased with fund from Eli and Edythe L. Broad, the MRs. Percy Uris Purchase Fund, and the Painting and Sculpture Committee, April, 1998, Latex, rope,string,wire,244 x 549 x 92 cm / 96 x 216 x 36 in © The Estate of Eva Hesse,Courtesy Hauser & WirthEva Hesse in her studio on the Bowery, New York, 1969 © The Estate of Eva Hesse / Münchner Stadtmuseum, Munich / Art Resource, NY. Photo: Hermann LandshoffForms Larger and Bolder: Eva Hesse DrawingsNo title, Eva hesse, 1964, Collage, gouache, watercolor, ink and graphite on paper 29.4 x 42.1cm /115/8 x16 5/8 in © The Estate of Eva Hesse Allen Memorial Art Museum, Oberlin College, Oberlin, OH. Gift of Helen Hesse Charash, 1983.106.1