Works composed of glass, plexiglass, string, silicone, and metal.
I think of the current pieces as if I were drawing with material, placing and rearranging. Adjusting the lights to reveal a shift in shadow and reflection. The title that comes to mind is wall sculptures. What is painting? What is sculpture? There lies an interest in pushing the idea of both. I feel as though these inquisitive insights to space and architecture drive me to establish a composition on a 2-dimentional level as well as create an existence for material on a sculptural level.
How does the subtlety of one thing amplify another? The shifting occurrence of light allows for the reflective and translucent qualities of the material to take on multiple iterations of a particular mark. Does the material consume light or reflect it back? Does a thread line bare more weight than that of a paint line?
The nature of this glass work started just about two years ago right before my BFA show. I have not been able to give my full attention to this work over the past years, though there has become a steady consistency of new iterations of these works since my residency at Lillstreet. Articulating the work... There is a sense of how i place the panels of glass and their position to the wall. How do the lean on or up against? The act of painting or placing the sting around the glass are decisions that are made in response to the panes of glass themselves, yes, but more importantly how these marks respond and cast themselves on to the wall. the relationship of them or the threshold between them? Like the threshold of the interior and exterior of a glass door?
The art movement Support/Surfaces reflected and responded to the structure of painting.
To show what was hidden, to deconstruct and individualize each of its elements. They thought to isolate the two principle consistent elements of conventional painting (canvas & stretcher), to strip the medium down to its phenomenological foundations and then begin to reconstruct it without in any way forgetting or obscuring those foundations. http://www.artcritical.com/2004/02/01/the-painting-undone-supportssurfaces/
These materials for me are needed to present the composition. the glass casts the shadows and the shadows extend past and further than what the glass can accomplish. There is a depth here, against the wall they are, but not flat, not stuck, there is movement. What are we looking into or seeing around us? The reflective quality of the glass leaves us open to see more.
Okay.. so where to start. Here is a collection of images that have been on my mind and have sparked new things in the studio. The first four images are pieces that I recently made. New in the sense that they were created a week ago, but not so much new to the conscious thought. ah.. the conscious and unconscious. This will make sense in a minute. The rest of the images are picture that I shot while traveling in France, (oh god a year and half ago) Taking these images spoke to me on many levels. There is a sense of meaning and purpose to the window displays or shutter compositions on the buildings. Fragments of something larger. Essentially well balanced machetes. I have been so curious in my own work about line shape and composition. An ongoing study within all the work I make. I am intrigued by the placement or rather displacement of something we might be looking at. To create a surface of some kind, there are many elements that factor in. Reacting and responding, intuitive and deliberate, conscious and unconscious, preparedness and damn right just owning the marks you make. Those marks might not be exactly what you looking for, but the only way to search them out is to own them without any trepidation. Easier said than done right?
Material, light and shadow are some of the key elements that are so beautiful in these photos. The strength that a casted shadow line holds over the naturally made water lines along the brick. This enters into depth and building upon each of the surfaces. The interaction among the different materials allows for a combination of different line qualities. (soft, hard, bold, thin). Does the material consume light or reflect it back? I like the play of both.
The works that I recently made are in response to and came to fruition from these photographs. Now that I'm writing this, the imagery on my ceramic work all stems from this trip as well.
I had to share these amazing pieces and realized projects by Luc Deleu. He founded T.O.P. office which is a studio that operates to push our perceptions and experiences of what architecture and urban design are. I find the placement of these large structural objects within our built environment to be a redefined physical, mental and spatial experience. Our awareness of objects, as having a particular function and/or place of context is sculpturally and physically challenged in Luc Deleu's work.
After working for the last month, i finally finished and installed my piece for Waubonsee Community College. This was made possible through the Art Department and the Dickson window art space.
As an artist, I aim to explore meaning with a conscious look at material and the intersection of space around me. I am interested in how exterior and interiors are defined by line and how we engage within that threshold. Through this installation I attempt to steer our perceptual understanding by framing a portion of what is around us. Navigating space is necessary, but comprehending our built and natural environments takes more than just “being present”. A heightened perception and willingness to break down space into parts is essential.
The structural characteristics and material makeup of the Dickson Center were the key elements that inspired this Installation. I attempt to heighten the viewer’s perception by minimizing the dimensions of the space and accentuating the angular nature of surrounding architecture. I consider the shift that material can take through the process of refinement within my work.
Ceramicist, artist, traveler. Until the funds run out.