Gear test days
A lot of this is work from a while ago now, but I’m still in the process of making pieces like this in my studio, so I thought I’d show some of the beginnings.
I make work in stained glass because I love the religious connotation that stained glass holds. As someone who grew up in an oppressive religious space, I am interested in how to shift the dogma around religion in order to grasp the underlying universal truth that you can pick out of every religious space.
But, when I started working in stained glass, something didn’t quite work for me. I love the look of it, and I love the practice of putting unexpected content in a traditional space, but the final result still felt a little too stagnant for me.
In shows such as
or
, I couldn’t help by feel that the glass solidified concepts that I desired would remain fluid.
And so I decided that I wanted to make my stained glass move. I wanted it to feel that, through the use of light and moveable parts, the pieces would feel a little bit more open. I wanted them to feel like they were continually changing.
I’ve been later cutting gear pieces and hooking them up to motors. These mobile objects then get put into light boxes that I’m making from stained glass and back light portraiture.
The portraits are cut through so that you can see the moving gear work behind.
As well, biological matter and artifacts are placed at different levels in the light boxes.
The experimentation process for this has been going on for the last couple years, and I’m still not completely happy with how things are turning out. But I thought I’d show you a little bit of the process.
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More to come!
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