Wednesday, February 18, 2009
The artist inflates a yellow balloon slowly using her breath. As the balloon
gets bigger, its walls become transluscent and resemble a glass-like
membrane. However, unlike hot glass, the balloon pops and all of a sudden,
the artist is left with nothing.
Blood, aluminum, stainless steel, gass
Part of the Living Language series, the work is comprised of glass plates
that are sandblasted and hold the artist’s fresh blood. The plates are held
in space by machined aluminum components and hand made laboratory
Sunday, February 15, 2009
The narrative of the video is centered on a girl attempting to relax
in the bath. This is interrupted by a surrealist emergence;
the water transforms into glass and overwhelms the girl.
Shed uses video and stop animation.
Gold Rush (2009)
Mixed Media, video(7x6x8ft)
Three 7’ x 4’ glass panels arranged in half of a hexagonal
pattern \__/ house a small tree that has been stripped of it’s bark.
On each frosted glass panel is the rear projection of one view of a
spring stream in a snow storm : Cold water will rush toward
the viewer, past the viewer, then away from the viewer.
Gold rush is currently being produced, and supporting
media will be provided as the project develops.
Dream Space (2008-09)
Performance / act OR prints (Variable dimensions)
A work table with a flameworking torch setup is in the middle
of a small room. A person is pulling long and thin glass canes
with the torch, and hanging them in the room. The action looks
like tedious daily labor--like hanging a curtain or
laundry that being hung dry. He/she repeats the action until the room,
filled with the clear canes, looks webby and ghostly.
The person stops when there is no more space to hang canes onto.
The person is stuck in the middle of the room, calm in his/her
private space. Then, voicing the opposite desire to
destroy it, he/she crashes the web to make a way
out of the room. If performed, the process of hanging will take
about 8 hours. The video will show a part of the making process,
the moment of entrapment, and the final escape.
Wednesday, February 11, 2009
Shot from a camera attached to a blowpipe, this video installation provides an intimate perspective of the physical acts of manual tedium that comprise the practice of blowing glass. The act of "turning" a pipe is foregrounded as the primary means of counteracting gravity—an activity as fundamental as breathing in the practice of glassblowing. Viewers have the opportunity to experience the action of turning a pipe in response to the video with their own bodies, which, in turn, alters the projected image, creating an analogous feedback loop.
Wood, ground glass,
toys (8 x 10 x 1 ft)
A large poplar box with pristine golden finish is filled
with pounds of finely ground tan glass, resembling sand.
The sandbox is presented out doors, or in the gallery space,
inviting visitors to engage with it in any way they wish,
some may look, some may touch, others may refuse
it altogether. Ambient lighting, be it sky or bulb, accentuates
the glistening quality of the material itself.
People are invited to explore this unexpected
state of glass: ‘sharp’ as soft, ‘solid’ as granular.
Mixed media, spotlights, screen
(Each mirror 127 x 56 cm)
Two mirrors that have slight textures
(male & female nude pictures)
on the surface reflect a spotlight onto
a translucent screen between them.
The two refractions from each mirror merge at
this screen if no one obstructs the light source. (Image 1)
However, if a viewer stands and blocks the light from
one side of the mirror, the image will project only
a male on the screen; and if the viewer switches to
the opposite place, then it will project only a
female on the other side of the screen.
This work is an interaction with the viewer’s
movement in the space; a person will engage in
both looking at his reflection on the mirror
and his projected image on the screen.
Sunday, February 8, 2009
The aesthetic properties of glass-gloss or matte, reflection, refraction, glazed color,
fluidity of form-are explored in the virtual world, which transcends some of the physical
limitations of glass while retaining its beauty and essense.
The digital prints exhibited are all computer generated, either by algorithmic
3d or computer paint, and involve a close study of the properties
of glass, often unnecessary in the direct experience of working
with the medium itself
Saturday, February 7, 2009
Honne and Tatemae (2009)
Performance with powdered glass for digital video
A wooden bowl sits on a simple gallery pedestal. It is filled with finely
ground glass, closely resembling white powder makeup.
Lighting amplifies thereflective attributes of the glass.
Behind, on the wall a large video projection
shows a body to which powdered glass is being applied.
The glass hides the true face and conceals feelings, desires
and motives. At the conclusion of the
video loop the woman is blank, unrecognizable.
Visitors are invited to wonder at the unexpected
consistency of this glass, the vagueness of transparency
and perhaps even the fluidity of human nature.
Friday, February 6, 2009
Ultra Shiny (2009)
Glass, stickers, advertising campaign
‘Ultra Shiny’ is a new and exciting product tag from
MondoNew Technologies that captializes on the perception
of glass in the eyes of the neophyte. Stickers claiming ‘Ultra Shinyness’
are placed onto glass products which are otherwise second rate.
The project, using now-ubiquitous forms of product
advertsiing to explore glass through the lens of both promise
and misdirection, encompasses: Glassware including a range of
stickers with marketing slogans.
Marketing materials: ‘Ultra Shiny’ business cards, t-shirts, baseball
caps, rubber stamps, car door magnets, Evidence of product placement
in the marketplace, i.e. www.etsy.com, www.ebay.com, etc and a
Wikipedia page devoted to Ultra Shiny.
Trade show attendance. A clever advertising campaign.
Tuesday, February 3, 2009
Interaction And Action(2009)
Blown glass, hardware, participant (16.5'x16.4'x variable height)
The proposed project aims to blur the “I make, you watch” line between an
artist and a viewer using the common non-verbal language of making.
A room is installed with simple blown glass pieces, sticking out of the floor
and hanging on the wall. The objects are moveable; they may be taken out of
/ into or relocated within the room to change the installation.
Monday, February 2, 2009
Pain, Written in Blood
Glass pen, glass bag and rubber tubes with needle, written letter, video
The performance will be submitted as a video alongwith the materials used
to make the performance: Glass pen, glass bag and rubber tubes with needle,
The video features a person, seated and writing with her own blood. Blood
from the left arm will be taken with a needle. The blood runs throuh rubber
tubes to a glass bloodbag, were it gets thinned out and transfered through
another tube into a glass pen the person is holding in her right hand, writing.
Objects Empowered; Glasses of Action/Context (working title, 2009)
Glass, printed text, digital print / video
The proposed work comprises a series of simple drinking cups, each
conceptually “activated” by a controlled environment and context of
production that will empower each object in the final presentation.
egs. * Downhill Glassblowing---production of a cup while rolling on mobile
glass bench (image 1) * Tandem Glassblowing---production of 2 glass cups
at once on a single double-ended blowpipe (image 2) * Long Distance
Glassblowing--- production of a cup via a 300 foot rubber hose with blow
partner on a cell phone * Retail Redefined Glassblowing---a glass cup made
from melted down Wal-Mart drinking glasses * Floating Glassblowing---a
glass cup made while in a canoe.
The environments and contexts will range from humorous to serious, and be
both fun and thoughtful. In presentation, each cup is coupled with descriptive
reference to the context and a large digital print.