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.
Ceramicist, artist, traveler. Until the funds run out.