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ORIGINAL VOICES 2019
May 3 - July 1, 2019
REFLECT 3.7 (urban mountain) | mixed media with glass | 48 x 30 x 3 inches | Heather Hancock, 2019
REFLECT 3.8 (curving) | mixed media with glass | 48 x 30 x 3 inches | Heather Hancock, 2019
DECEPTION PASS (I) | kiln-cast, cold worked glass and sodalite | Weston Lambert, 2018
EMERALD SHADOW | kiln-cast, cold worked glass and malachite | 14 x 14 x 9 inches | Weston Lambert, 2018
THE SETTLING WAY | pâte de verre | 7 x 7 x 8 inches | Alicia Lomne, 2019
UMBRA NIX | pâte de verre | 7 x 7 x 8.5 inches | Alicia Lomne, 2019
MIRROR PAINTING | blown mirrored glass, silicone, epoxy on wood | 24 x 24 x 2 inches | Anjali Srinivasan, 2019
QUIVER VESSEL | blown mirrored glass on silicone | varied dimensions | Anjali Srinivasan, 2019
GRASPING WHAT REMAINS | pâte de verre, 24 kt gold, stone | 2 x 23 x 14 inches | Demetra Theofanous, 2019
NOTHING GOLD WILL STAY | flameworked glass, pâte de verre, 24 kt gold, stone | 5 x 20 x 14 inches | Demetra Theofanous, 2019
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The gallery is pleased to present this catalogue documenting the exhibition Original Voices 2019, a survey of new, young, and under exposed artists. As the images in this catalogue show this year the exhibition includes objects that explore the transmutation and transformation of medium and material in the service of creation.
The artists in this exhibition generally eschew the exaggeration of the basic qualities of the material they’re working in, its optical qualities including its clarity and the way glass interacts with light, instead transforming the glass to create resonant sculptures that challenge excepted boundaries between process and medium. Illusion plays an important role in many of these works.
Heather Hancock, a native of Canada who maintains a studio outside Chicago, Illinois works in the ancient technique of mosaic. The artist’s work examines our “understanding of the importance of our surroundings to our well-being: humans thrive in engaging environments. Alongside the hard lines and repetitive forms of our cityscape, I notice the fluidity and constant transformations in our natural world.” Hancock references the documentary quality of black-and-white architectural photography but as the artist has gradually increased the scale of her works she has gone from directly confronting strategies of representation to subverting them to her own needs, willing pattern and rhythm to take the place of documentarian detail.
Weston Lambert, originally from Utah and currently living and working in Washington, presents two bodies of work both reflecting the artist’s interest in the transformation of media. In the artist’s large scale installation Lambert plays on the conceit that transforming tempered steel into a show stopping cascade of glass razor blades has rendered them less a danger to others then a danger to themselves in all of their glittering fragility. With his second body of work the artist transforms semi-precious stones and found rocks into very large glass sculptures. By incorporating an original process for laminating the two materials and by cold-working the surfaces of the glass and rock the artist is able to bring his wonderful skill to bear on these objects that seamlessly transform from stone to glass and back again.
Alicia Lomne, born in France but a lifelong resident of the state of Washington, creates small scale vessels that quietly celebrate the organic qualities of her technique, pâte de verre. These very precious objects are quite unlike almost anything being done in glass; the qualities of their fragility, translucence and the contrast of inside and outside textures suggest a strange cross of crystal and moss. The markings on the outside of these forms recalls the buildup of layers of organic sediment. These are wonderfully subdued works that silently beckon and seduce.
Anjali Srinivasan, born in India and currently living and working in Boston, is an original thinker and visionary artist bringing glass to places it has rarely recently been. The originality and force of these works is nearly breathtaking. The artist’s Quiver Bowls are created from a combination of silicone and super reflective blown glass that result in forms that are biomorphic, soft, shapeless. The artists mirror paintings and fabric sculptures are fiercely original kaleidoscopic explosions that strongly reference the opulent interiors of the 17th century Indian architectural history.
Demetra Theofanous, who lives and works in the Bay Area, presents her beautiful pedestal top tableaux, as well as a very large installation of pâte de verre leaves. The artist’s works are a tour de force of object and medium transformation. The illusion of a cluster of wind-blown leaves scattered across a gallery wall is breath-takingly successful. Their glass-ness is referenced by their translucence and incredibly fragile beauty. For all of its randomness this installation is very carefully planned out resulting in a wonderfully natural presentation. Theofanous creates works that are truly homages to nature’s fragility.
This catalogue documents the works included in the exhibition Original Voices. With this presentation of the exhibition the gallery celebrates the exceptional sculpture being created in glass by artists who work in this medium.
© Ken Saunders Gallery, 2019 | 230 West Superior Street Chicago, IL 60654