I use hot glass to make prints and drawings. During the past 5 years I have been creating my own process, which is a combination of glassblowing and printing or drawing with glass. First, I sculpt hot glass into shapes and lines. Then, while the glass is still screaming hot from the glory hole, I press the glass forms into wet sheets of Arches rag paper. Instantly, the glass begins to burn and smoke the paper. In this dramatic process, the glass becomes cracked, scarred and destroyed. All that remains is its mark on the paper.
The soul of glass is its heat.
These prints function as maps of that heat.
They reveal a secret aspect of the glass
normally known only to the maker.
The casual viewer may not instantly spot that these prints are made from glass, but no other material would be able to create these high-temperature, organic burns. They have a richness, translucency and liquidity that is an echo of the original glass form. The resulting burnt impressions have a high level of detail as the burns pass through layers of paper and also create embossed areas. They range in color from areas of rich, dense blacks to smoky sepias and watery yellows. The burns are full of light- they have a mysterious photographic quality; in some areas they look as if they are backlit.
This recent body of work is based in ruins that I studied in Italy. By using piles and stacks of traditional Roman glass forms, I once again connect these prints to their glass craft origins. The amphora-style forms I am using reference unearthed antiquities. That feeling of ancient, dirt-covered pieces speaks not only to the ideas of preciousness of the original object, but also extends the meaning of the print when it is completed: the final prints are brown, crusty, and damaged, like an excavated shard. These burn prints are poignant, because they exist simultaneously as aesthetic objects in their own right, and yet also speak of the object that was lost.
Artist Bio / CV
E D U C A T I O N
TYLER SCHOOL OF ART, TEMPLE UNIVERSITY Elkins Park, Pennsylvania
Masters of Fine Arts in Glass. 2003
PARSONS SCHOOL OF DESIGN New York, New York
Bachelor of Fine Arts in Sculpture. Concentration in Glassblowing. Honors Graduate. 1994
EUGENE LANG COLLEGE, The New School for Social Research. New York, New York
Bachelor of Arts in Writing and Art Theory. Honors Graduate. 1994
URBANGLASS Brooklyn, New York
Glassblowing. 6 years studio work and training
S E L E C T E D E X H I B I T I O N S
Ithaca Art Bars, Ithaca, NY
Belvedere Showroom, Atlanta, GA
Fragile: Hot Silica, Dean Johnson Gallery, Indianapolis. IN
Cutting Edge, 171 Cedar Arts Center, Corning, NY
Elements, Pochron Studios, Brooklyn, NY
Languages of Silence, GRACE Gallery, Reston, VA
Friction, Anderson Gallery, Albuquerque, NM
Wood, Water, War, Starpin Gallery, Shelton, CT
Decourtenay Gallery, Ambassador’s Art Prize finalist, Belgium
Made In NY, Schweinfurth Memorial Art Center Juried Show, Auburn, NY
Y.O.H. ArtEvent, Yonkers, NY
Gimme Coffee, Small Prints, Williamsburg, Brooklyn Solo Show
UrbanGlass MFA Exhibition, Robert Lehman Gallery, UrbanGlass, Brooklyn, NY
Errata, Cade Art Gallery, Anne Arundel Community College, Arnold, MD
Paperwork, Dodge House Gallery, Providence Art Club, Providence, RI
Paperwork In, On and Of Paper, Foundry Art Centre, St. Charles, MO
Summer Dialogue, Broadway Gallery, New York, NY
W O R K S H O P S A N D O T H E R E D U C A T I O N
GLASGOW SCHOOL OF ART Glasgow, Scotland
Dean’s Scholarship for studio program in Scotland with Tyler School of Art, Summer 2003
PENLAND SCHOOL OF CRAFTS Penland, North Carolina
Scholarship recipient for workshop with Katherine Gray, Summer 2002
GLASS ART SOCIETY 2002 CONFERENCE, Amsterdam, The Netherlands
Student Liaison from Tyler School of Art. Demonstrator and student lecturer at conference. Summer 2002
MARIE WALSH SHARPE FOUNDATION Colorado Springs, Co.
Summer Scholars Program 1989. Drawing and Painting.