Monday, March 2, 2009

Artist: W. Benjamin Bray

video

Modes of Departure(2008)
Video Installation dimensions variable

Sound from inside aircraft taxiing for departure is played from speakers situated in
forms resembling jet engine nacelles, while video volumes, each comprised of
images representing one of the five distinct periods of transience throughout
artist's life, are projected into the nacelles, where each reflects off of a mirrored
speaker cone and onto a nacelle's interior walls.  
The energy and feeling of departure affects the perception of reality.

Artist: Rebecca Cummins





"Shooting Stars", 2007
inkjet print on acrylic, 24H x 36W

Artist:Jessica Lloyd-Jones




A series of framed photographic prints:
Image 1
Photogram of light bulb and botanical roots. Developed from the presence of
electrical activity in plants and animals.
Image 2
The northern lights captured within a chemistry lab bottle filled with argon
gas and lit by the presence of electricity. The bottle evokes the mystique of
ancient magic and alchemy and the ‘chemistry’ of the earths’ atmosphere.
Image 3
Blown Glass anatomical model of the heart containing gas charged with
electricity.

Artist: Suzanne Peck




Sink or Swim(2007/8)
Digital video, Chlorine (variable dimensions)


A room-darkened and warm- reeks of damp air and a hint of chlorine. The
moving image on the wall features a woman’s body gliding through aqua water.
The atmosphere grows incresingly familiar as the chlorine smell intensifies and
passes, the air is thick. The woman is fragmented, here glides her back, there
a leg, a shot of both arms propelling her slowly through the water.
There are unfamiliar objects the woman is wearing, making sound in the water
amidst her breathing. Glass tubes surrounding her limbs, clinking against each
other, keeping her afloat.

Artist: J. Susie Hwang





Ritual Residue(2009)
Clay, body, video, glass (variable dimensions; min 12 sq ft floor)

A series of clay imprints (12-16 tiles, each 3 sqft max) are cast in glass,
thereby mapping the demographics, traffic, and populous of a certain hub.
The glass tiles will be placed in the four corners of a room , each labeled with
the sidewalk locations, ie: 21st Street and 8th Ave. Chelsea: New York, New
York.
Video may be a part of this process. The traffic may be recorded and
manipulated to create a subsequent video piece which may become part of
the installation.
Note: The artist is most interested in creating the tiles on-the-cuff using traffic
patterns in the city of Corning, the work thereby morphing into a sort of
guerilla ‘doormat’ project.

Sunday, March 1, 2009

Artist:Stine Bidstrup





Sights and Sites for Corning, New York(2009)
Glass, water (variable dimensions)

A group of organic, blown glass blobs, will be placed without particular fanfare
or explanation into a public setting. When filled with water, they reflect
the surrounding environment upside-down, and are subject to ephemeral
phenomenological experience: changing light, the season, the angle of view
and so on.
The life of the work may be short i.e. removed by public authorities
or ‘appropriated’ by passers-by (taken home by people), or, be allowed to
exist in the public realm for a longer period of time, picking up the traces
of outdoor weather, eg. microbiological processes aided by sunlight causing
growth in the water, or evaporation that leaves traces on the insides of the
glass.

Artist: Stefanie Pender

video

Resonance (2007)
Video Projection (1 minute 53 seconds)

A voice sings at the resonant frequency
of the glass that causes the glass to
oscillate. The inanimate becomes animate when invisible sound waves create
movement within a static glass.

Artist: Solange Ledwith

Human Glass Wrap (2007)
Performance / video

This performance uses the body, wet newspaper and hot glass. The body,
encompassed by media, words, articles, and breaking news; the stuff in
our everyday lives that assist in forming who and what we are, is dressed/
wrapped with hot glass.
Ultimately, the roles of the materials are reversed: the protective skin of
paper symbolizes the bombardment of media and the subliminal toll that it
takes on the individual and the seemingly “dangerous” material (hot glass) in
actuality imposes no threat.
video

Artist: Sealen Sallee




Title options: * The Finite Possibilities of One: the biography of a cup.
* A Transcontinental Glass * I’m in a Long Distance Glassblowing
Partnership (or a simpler variant) * Re:blow (2009)
Glass, digital image/video (Dimensions n.a)

This project traces the dissolution or disappearance of an object, a cup,
made over and over again using the same piece of glass, as it goes back and
forth between the two artists. Preliminary ideas to present this work include:
* A photographic biography of the cup in the form of multiple exposure
photographs, and an ctual shelf which will hold only the final cup remaining.
* A book documenting all aspects of the project
* A collector’s set of postcards featuring the glass in its various stages of
transformation. Viewers may purchase postcard sets and continue to send
our glasses in the mail to friends and loved ones.
* An installation comprising all packing materials used iin the process.
* A video made by stitching together stills of the various cups so its demise
happening in time is visible.

Artist: Samuel Geer





Dervish (date n.a)
Mixed media (4’ x 8’ x 8’)

A bicycle wheel spins horizontally at the end of a motor-driven shaft mounted
on a cart. The machien is surrounded by removable walls and floor.
Molten glass is poured over the wheel as it rotates, causing the glass to
splatter and resulting in action-paintings on the walls.
The walls are removed and glass threads - frozen along their path while
spinning on the wheel - remain.

Artist: Ryan Gothrup

title n/a(2008)
video installation

Fifteen blown and painted glass basketballs are mixed with real ones, and
shot into a basketball net in a park. Seen as video, the viewer will not be
able to distinguish between a glass ball and real basketball until the (glass)
ball breaks. The video will play on several monitors (3-9) and the action
seen via multiple camera perspectives. A glass basketball may be placed on a
basketball rack.
video

Artist: Robin Rogers



Portals (date n.a)
Glass, sound, electronics (variable dimensions)

Up to thirty globes are disbursed throughout the gallery in clusters of three.
Each globe contains a speaker and a led light. The speakers emit sounds,
bouncing off of the glass’s surface and the leds light up in response.
As each pod broadcats a different sound, each gathered from the everyday
lives of collaborators, thirty viewers could be simultaneously having thirty
different auditory experiences from the lives of thirty collaborators.
The piece is controlled by a PC with multiple sound cards running software
that feeds sounds to the spheres.

Artist: Peter Garfield




The Grotto of the (Self-Reflective) Futurist Duck (working title) (date n.a)
mixed media with borken mirrored glass (n.a)

The shattered remains of an earthenware duck are dispersed into space at
the extremities of bits of wire, as if suspended in motion immediately after an
explosion. The duck emerges, mock-heroically, from a shattered sunset, beak
open, emitting its silent call.
The work in interested in the beauty of “dirty” glass, glass that would normally
no longer have a function or aesthetic.

Artist: Naomi Kaly



video



It’s not a book (date n.a)
Glass, digital projection, audio

Projected on a translucent glass, is a video of the artist, writing an English
text in the opposite direction of convention (i.e.right to left); When mirrored,
one’s own language becomes opaque. To decipher the text, viewers
use the ’rear’ side of the glass.
Charcoal sound confronts the unmediated material world of handwriting,
with the digital, intangible, modern version. Facilitated by digital tools, the
glass becomes a virtual page emphasizing the ephemerality of language.

Artist: Min Song





untitled (2009)

An experiment into the relationship between visual perspective
and the sense of time and space, the proposed work uses
images on glass panes as filters, and mobile lighting sources such as
sunlight. Viewers may choose and alter images by layering panes
of glass and manipulating light. Based on this action
and lighting source, shadows and reflected images
will appear on the wall behind the objects.
eg. Images of the sky at one location(cityscape) at several
time intervals(sunrise, day, sunset, night…) are etched on the
surface of flat glass. The animated light source re-creates
and dislocates the scene of the cityscape (sunlight with shadow).

Artist: Michelle Coelho





Pull me, stretch me, what does it say (date n.a)
Pegboard, elastic, ink, and staples (variable dimensions)

Words, phrases and poems, collected over a period of time,
are witten with ink on stretched rubberbands.
As the rubber band returns to its unstretched
condition, the text shrinks and may not be decoded
until the process of stretching the elastic is undertaken.
The artist proposes to collect information posted on
http://howisthisglass.blogspot.com/, the blog dedicated
to this exhibition. She will transfer text
from the site onto elastic bands.

Artist: Linda Diec




title n.a (2009)
Ice, mixed media
Packets of mundane materials are embedded in a large block of ice (roughly
2’ x 2’). These packets reveal themselves as time goes by. Some release
fragrances; some are mementos from past events; some may react with the
newly melted ice. The resultant water and contents are recollected. A video
camera and Polaroid documents a step-by-step progression of events for
viewers.

Artist: Keunae Song






The way of reading a space, #304 (Date n.a)
Installation with glass, speakers, projector

In a dark space, the sound of hearing something flipping away is
the only way to perceive the moment without being able to see
it source. Soon, the viewer encounters someone’s eye balls that
appear to be looking at the object creating the sound.
The viewer might follow the movement of these eyes to get the sense
of source. When one looks at the eyeballs close
enough, one can see the reflected images of the artist flipping
a tiny glass bead in a black space.
Upon exiting the installation space, a small white camera
- as though a miscroscope- shows the viewer a tiny glass bead with
the image of a person (whose eyeballs were projected in the space)
sitting on a chair in the middle
of the space, thereby, seeing what was missed from the disorienting,
illusory experience of the installation.