The American sculptor’s work is so celebrated that France opened its borders to her mid-pandemic. Yet her largest ambition is to show the fragility of Earth itself
One click and the image on my laptop judders. When it reasserts itself, I’m looking at what appears to be an explosion frozen in time. Glittering embers hang impossibly in mid-air while images slither across: a glimpse of blue sky, rainbow refractions, a knife scraping yellow chalk.
I’m in London. Sarah Sze – who is trying to give me a flavour of her latest creation via her iPad – is inside the Fondation Cartier in Paris, where she and her assistants are erecting the installation, her first there for over 20 years. She walks through to the next room and passes the camera over a bright-white circle of crushed salt on the floor, surrounded by tiny piles of scrunched-up tin foil and bottles of water.
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