NY Arts Magazine » glass

Alexander Tsalikhin

mauri — Mon, 27 Jan 2014 22:10:14 +0000

Image courtesy of the artist.

In my work I follow the traditional form of sculpture but also include some modern elements. A human in a calm, contemplative state, deep in dream or meditation is the most interesting theme for me. I strive to transfer into my sculptures the human world inside its own mind, when one is calm inside his own world.

I work intuitively, with no pre-conceived plans. I don’t analyze what my work means or try to express any particular idea. A visual image comes to me, and I make a sketch. When I start sculpting, it often changes, taking on a life of its own and sometimes developing into something quite different. Materials are important. An unexpected juxtaposition of contrasting materials, like bronze and glass, attracts and inspires me. I think the creative process is a part of my quest for self- knowledge.

alexander.tsalikhin

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Between Seeing and Knowing by Anna Boothe and Nancy Cohen

mauri — Fri, 20 Sep 2013 09:00:24 +0000

Anna Boothe and Nancy Cohen’s installation, Between Seeing and Knowing is a surprising 3D installation comprised of dozens of kiln-cast and sand-cast glass pieces sprawling over a 10 by 25 feet wall space. Sitting on a bench placed across the gallery for viewing, one feels a little like a child arriving at the beach and discovering manifold objects to arouse his or her curiosity. The objects reference sea-life, symbols from ancient history, body parts and sensuous fruit or flowers. Mostly the forms elude definition, however, like household objects rendered by Gertrude Stein.

Boothe and Cohen created the piece while completing a collaborative residency at the Corning Museum of Glass in 2012. Interested in 14^th to 19^th century Tibetan Thangka paintings, the two artists worked to create a large-scale glass installation that would interpret the rich imagery while existing in a space between ancient metaphor and personal imagination.

Intuitively proximate to Buddhist philosophy, the piece is about the inter-relatedness of things. Each glass part appears sentient and in direct communication with the others. In a Thangka painting, none of the forms are meant to be isolated but work together to invite the viewer to take the painting in at once, as a whole. Similarly, all of the pieces in Boothe and Cohen’s installation contribute to a sense of continuous breath or movement, which is enhanced by light reflecting through the glass.

One viewer remarked that the installation reminded her of reading, “The Dream of the Red Chamber,” a Chinese classic novel that encompasses an entire Chinese Dynasty’s history. She remarked that the piece was like the book, not only because of it ancient imagery but also because of its panoramic quality and the consequent sense of undertaking an adventure.

Moving through the piece, Between Seeing and Knowing is like going on an adventure—an adventure that is historical, deeply personal and fresh. The show will be up at the Accola Griefen Gallery on West 27^th street through October 12^th.

By Elizabeth Crawford

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Päivi Lappalainen

mauri — Fri, 05 Jul 2013 21:04:05 +0000

Courtesy of the artist

Although I am a ceramic artist, glass is an essential part of my sculptures. What fascinates me about glass is the way light penetrates the glass, how the rays travelling through the work make the colours shine and glow, and how the ever-changing light transforms the work. In my sculptures, ceramic forms the frame and glass gives it a new dimension – a dimension of space and timelessness.

paivilappalainen.com

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Eli Ping at Susan Inglett Gallery

mauri — Thu, 18 Apr 2013 19:35:43 +0000

Stacked together and leaned against the wall, identical panes of safety glass seem to have been the recipient of a blow in this state, shattered ripple tracing the energy’s transference. The press release reveals that this glass is cut in the same ratio as the standard for 35mm movie film, a similarly impressionable medium. This is the work of Eli Ping, currently on view at Susan Inglett Gallery.

Joining this work in the selectively installed exhibition is a long format video depicting the artist walking the length of Manhattan on Broadway while making a concerted effort never to place his foot on a line. This conceptually pregnant linear motif happens twice more in the exhibition.

The first example confronts the viewer immediately in the form of a floor to ceiling pillar constructed of an aluminum I-beam cut into equal sections and re-stacked in such a way as to lock together. The result creates an ordered but semi-precarious alignment of elements conceivably once composing a single rigid architectural bone. The second linear element is on black enamel reverse-painted glass laid on the floor to create a threshold which must be crossed over in order to experience the rest of the work.

The show is economic in it’s expressive elements while employing largely communicable aesthetic themes of serious conceptual weight. Go see it.

inglettgallery.com

IMAGE:Syncopated Descent, 2013. Video, 4:36 hours. Edition of 3.

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