GLASS

All language vibrates between transparency and opacity. Images, words, reveal and resist, shine in the light of apparent understanding, occlude, or dissolve into memory-traces, fade and resurface at different times in altered colorations. In a sense, we are always “reading” everything for the first time. Glass challenges our way of  “reading” visual expression. We look through, rather than at, a pane of glass. When an image is etched onto glass and lit, the viewer looks through and at simultaneously, negotiating the surface in a way that brings to the fore both the instability of any given “look” and the seeming durability of the image. Via these ambiguities, I hope to heighten our sense of art as a window through which to view the world. Or perhaps, given “the sluggish reaction of the human eye,” in W.G. Sebald’s words, we see only an “afterglow” — as the ever-changing now of the world leaves only its “phantom traces.”

Observatory II

Observatory II

Glass, RGB LEDs, steel 63" x 13" x 1 ½" 2014

Suspension of Disbelief

Suspension of Disbelief

Glass, RGB LEDs, steel 33" X 21 ¼" x 2 ¼" 2014

The Drowning of the Cockle Pickers

The Drowning of the Cockle Pickers

Glass, LEDs, steel 72" x 40" x 24"

Necropolis

Necropolis

Mixed media on board 42" x 36" x 3 ½" 2003

Observatory II (detail)

Installed at Regeneron Pharmaceuticals, Valhalla, NY