A New State of Matter @ GRAM

A New State of Matter: Contemporary Glass at the At the Grand Rapids Art Museum

Norwood Viviano (American, b. 1972). Recasting Detroit, 2017. Kilncast glass, 3D printed pattern, and found object, 16.5” x 13.5” x 11”. Photo: Tim Thayer/Robert Hensleigh

Glass defies definition; it’s neither liquid nor solid, and as such it’s been described by physicists as “a new state of mater.” At the Grand Rapids Art Museum (GRAM), a visually dazzling exhibit of glass art makes the point that skilled artists can make this enigmatic mater look like pretty much anything.  Glass, A New State of Matter comprises work by an international body of nineteen artists who skillfully manipulate glass in concert with a diverse array of other media: wood, plants, and even  uranium.  The first major exhibition of glass art in the GRAM’s history, the show highlights the stunning versatility of glass, and however it’s used and in whatever form it assumes, the beauty of the physicality of the glass itself is always paramount.

Glass is an ancient substance, dating back to the ancient Egyptians of about 3,000 BC, but the overwhelming majority of the works on view are emphatically modern, and many were created with the aid of emerging technologies.   An ensemble of works by Norwood Viviano applies 3D printing in glass to render cityscapes of actual cities which also allude to their respective histories.   A 3D rendered map of Detroit, ground zero of the auto industry, has as its foundation a cast-glass automobile engine block.  And a map of Grand Rapids, bisected by the Grand River, rests atop a wooden table, an appropriate emblem for a city known for its historic 20th Century contributions to the furniture industry.

Norwood Viviano (American, b. 1972). Recasting Grand Rapids, 2020. Kilncast glass, 3D printed pattern, and found object, 22 x 17 x 29 ½ inches. Photo: Tim Thayer/Robert Hensleigh

Addressing the 21st century phenomenon of social media is Charlotte Potter’s Pending, a complex work which, when viewed straight on, assumes the form of something like a firework blast.  Hundreds of small glass cameo portraits burst out into the viewer’s space, dangling from wires affixed to the gallery wall.  It’s a work which visualizes the artist’s pending Facebook friend requests.  Potter rendered the profile pictures of each request in blue and white glass, colors reminiscent of a Victorian-era shell-cameo necklace or broach.  The length of the wire from which each cameo dangles corresponds to the number of mutual friends Potter shares with each individual.  Her rendering of Facebook profile pictures to look like shell-cameos works as subtle commentary on the often-airbrushed and fastidiously curated digital versions of ourselves that we tend to present on social media, which ultimately serve the same ennobling purpose as a Victorian-era cameo.

Charlotte Potter (American, b. 1981). Pending, 2014. Cameo engraved glass and metal, 156 x 360 x 96 inches. Courtesy of the artist and Heller Gallery, New York

Charlotte Potter (American, b. 1981). Pending, 2014. Cameo engraved glass and metal, 156 x 360 x 96 inches. Courtesy of the artist and Heller Gallery, New York

There’s a literal savage beauty in Etsuko Ichikawa’s luminous blue and green spherical orbs which glow in a dark corner of the gallery suite like little marbled earths.  The unlikely inspiration for Leaving a Legacy was the Fukushima nuclear disaster caused by the disastrous tsunami which struck Japan’s coast in 2011.  After learning that nuclear waste can be contained behind glass in a process called vitrification, Ichikawa created spherical orbs which contain (in every sense of the word) traces of uranium, which causes the orbs to eerily glow when lit by a black light, and they speak to the uneasy proximity with which we coexist today with nuclear energy and nuclear waste.

Etsuko Ichikawa (Japanese/American, b. 1963). Leaving a Legacy, 2017. Hot-sculpted uranium glass, 33 x 72 x 48 inches. Courtesy of the Artist and Winston Wächter Fine Art, Seattle

In contrast with some of the high-tech and ultra-modern works on view, April Surgent’s Portrait of an Iceberg comes across as an homage to traditional painting; her serene photo-realist work even takes the form of a triptych, which has deep roots in art history. Working from original photographs, Surgent meticulously engraves images of the natural world in glass, and her finished works are evocative of the painted blurry photographs of Gerhard Richter.  They’re beautiful, but they also gently speak to the need to restore wounded ecosystems and address climate change.  And her slow working method of engraving into glass is a performative act of defiance that pushes against the aggressively rapid pace of the digital age.

Flaunting the versatility and trompe l’oeil capability of glass, Tali Grinshpan’s Hope is a work that mimics with arresting believability the soft and paper-thin fabric of a Baroque-era ruff-collar.  Fragility is a recurrent motif in her work, and Tikun (To Mend)  comprises dozens of charred and crumpled brittle-looking vessels in varied states of ruin and (dis)repair.  Like a Mark Rothko painting, the work uses the language of abstraction to convey deep feeling, in this case, a meditation on the breaking and mending we inevitably experience in our lives.

Tali Grinshpan (Israeli/American, b. 1972). Hope from the series Of Innocence and Experience, 2016. Pâte de verre, 10 x 10 x 5 inches. Courtesy of the artist.

Tali Grinshpan (Israeli/American, b. 1972). Tikun (To Mend) from the series Rituals, 2016. Pâte de verre, 100 vessels, 3 x 3 x 3 inches each. Courtesy of the artist.

Complimenting Glass A New State of Matter is an auxiliary one-room micro-exhibition, Looking (at-into-through) Glass, featuring glass as it appears in works from the GRAM’s permanent collection.  Paintings and photographs reveal some of the varied and many ways artists use elements like windows, mirrors, and reflections in their work.  Bruce McCombs’ painting Ed’s Easy Diner is a watercolor tour de force which renders the shiny and reflective glass facade of a dive restaurant with the same exacting photorealist detail we might expect from a Richard Estes painting.  Also on view is Tir (from the Conversion series by Iranian artist Monir Shaharoudy Farmanfarmaian), which was recently purchased by the GRAM; the luminous arabesque patterns on this multifaceted geometric glass sculpture reflect shards of light into the gallery space much in the same way stained-glass windows diffuse light onto a cathedral floor.

Glass, A New State of Matter is a crowd-pleasing exhibition in the best possible sense.  It brings together an  eclectic and visually exuberant ensemble of international artists whose work addresses issues as varied as identity, environmentalism, PTSD, and even the Avian Flue (Rachel Moore’s rendering of surgical masks tarnished by their wearer’s breath has certainly accrued an uncanny  resonance and timeliness over the past several weeks).  The eclectic nature of this exhibit perhaps might initially seem to lack a specific point of focus, but that can easily be forgiven; after all, it’s ultimately the varied potential (and indeed the innate beauty) of glass that remains the whole point of the show in the first place.

Glass, A New State of Matter is on view at the GRAM until April 26.

 

 

Alternative Testimony @ David Klein Gallery

Install Image, Alternative Testimony, Image Courtesy of David Klein Gallery

Alternative Testimony, a group show at David Klein Gallery that is part chemistry experiment, part art historical tour of photographic processes, features the work of four artists who have slipped the tether  binding conventional photography  to representation. They proceed to spin the medium off into new and unexplored territory where the resulting abstract images challenge established notions about the function and purpose of photography.

Untitled: 3/23/2016, 8:15 a.m., by Cyrus Karimipour, archival pigment print, 44” x 44” (ed.1/5, 2 ap) All photos are courtesy of David Klein Gallery

Cyrus Karimipour’s hazy pastel vistas are barely-there evocations of images recorded by trail cameras. He placed them on his remote Michigan property, where they documented trespassers over the course of several years.  At first, he viewed the hikers as unwelcome interlopers, but Karimipour came to accept them as a part of the natural wildlife on his land and as a resource for his work.   “I used to dread finding people on the cameras, but now I rely on their presence,“ he says.

Karimipour combines contact printing, a photographic technique popular in the 1890’s, with contemporary inkjet materials to create a kind of process art. His method depends on the serendipitous interaction of built-up pigment on low adhesion film, which is then applied to a more absorptive surface. The pigment immediately dries and bonds the films to each other. The effect, which is evident in Untitled, 03/23/2016, 8:15 a.m.  is somewhat map-adjacent, like traditional Asian charts that render the view in forced perspective from a high, almost aerial, angle.  Much of the visual incident in each picture  comes from the bubble-like spherical puddles distributed throughout the composition.  The ghostly result is a little reminiscent of video static, through which, occasionally, one can detect trees, humans and the like, purely coincidental remnants of the artist’s time-based exploration of the landscape.

On the opposite gallery wall from Karimipour, dimensional collages by Aspen Mays document her long and complicated relationship with the weather–specifically, her recollections of Hurricane Hugo. The category 4 storm devastated her hometown of Charleston SC in 1989 and provided the inspiration for her Hugo Series.  Many of the elements in these assemblages recall her youthful memories of the storm, although the artist freely admits they may be genuine recollections or merely media images that have infiltrated her reminiscence. She recalls with particular interest the ritualistic taping of windows in preparation for the storm, an activity that she describes as more shamanistic than practical.

Hugo 23, by Aspen Mays, 2019, gelatin silverprint, photo gram, blue sintra, 26.5” x 22.5”, unique

Hugo 20, by Aspen Mays, 2019, gelatin silverprint, photogram, grey sintra, 26.5” x 22.5”, unique

In the artworks themselves, grids and x-es of masking tape, starburst shapes and free-form fragments generate exuberant architectonic compositions.  The layered gelatin prints of photograms on rag paper, cut up and reassembled on colorful sintra backing, are curiously cheerful and appealingly tactile. Mays describes the colors as derived from the alert codes used on weather maps to indicate violent weather patterns, but her palette projects a child-like optimism at odds with apprehensions of disaster.

With her cyanotype prints, west coast-based photographer Meghann Riepenhoff engages directly with the natural environment and, in particular, with the dynamic temporal features of her watery surroundings– rain, snow and ice, wind and waves. Cyanotype, a photographic process that will be familiar to many from childhood craft projects, is the fairly primitive technique that the artist employs to brilliant effect in her program to directly record fugitive natural phenomena.  She says, “Each cyanotype is like a fingerprint of a place, a hyper-literal, sometimes three-dimensional photographic record of specific cumulative circumstances.” Her cyanotype Ecotone #163 exemplifies the specificity of her vision: it is a physical record of snow, rain and melting ice on a draped construction barrier in front of a New York City gallery. The rich shades of blue in these visual records of natural phenomena develop over 48 hours and continue to respond over time to local conditions.

Ecotone #163 (parking space in front of Yossi Milo Gallery, New York City, 3/14/17, snow rain, melting ice draped on construction barrier), by Meghann Riepenhoff, dynamic cyanotype, 19” x 24”, unique

Ecotone #287 (Pier 4 beach, Brooklyn, New York, 12/17/17, melting snow under shelf ice), by Meghann Riepenhoff, dynamic cyanotype, 19” x 24”, unique

Of the four artists in Alternative Testimony,  Brittany Nelson seems to be the most militantly committed to discarding  photography’s traditional preoccupation with the surface appearance of things and places. Instead, she engages in an experimental exploration of the medium’s chemical essence.

The two (very large) works by Nelson in Alternative Testimony depend for their visual charge on arcane and caustic 19th  century processes. Mordencage 5 employs a hybrid procedure that starts with the eponymous mordencage, a translucent veiling, draping effect caused by the chemical reaction of acid with the silver content of gelatin paper.  The resulting (very small) print has been digitally enlarged to highlight the diaphanous striations.

Mordencage 5 – 2020, by Brittany Nelson, c-print, 72” x 72”, (ed.1, 2 ap)

It is a little ironic that the only image in Alternative Testimony that can be described as a standard landscape has been produced by Nelson, who most categorically denies the relevance of the pictorial in contemporary photography.  The scene, though, is hardly mundane–in fact it is other-worldly in the most literal sense–a 4 ft. x 6 ft. bromoil print of a Martian landscape from the NASA archives, the largest of its kind ever produced. (bromoil, popular in the early 20th century, is created when a silver gelatin print is bleached and then soaked in water and coated with oil-based ink.)

Tracks 2 – 2019, by Brittany Nelson, bromoil print, 48” x 72”, unique

Each of the four artists in Alternative Testimony can claim a unique art practice, but what they share is unfettered curiosity and a willingness to experiment with alternative photographic processes in unique ways—in combination with contemporary tools— to achieve their formal goals. By avoiding the merely representational, they have found a new and deeper reality at the intersection of science and art, observation and expression.

The Alternative Testimony at the Midtown  David Klein Gallery will be up through March 28, 2020

Stewart & Stewart Fine Art Prints @ BBAC

Installation Image, Glimpse: Fine Print Selections from 1980-2020 is on view in the Kantgias-DeSalle Gallery, All images courtesy of Stewart & Stewart

The Birmingham Bloomfield Art Center opens and celebrates forty years of independent printmaking and publishing by Norman and Susan Stewart. Glimpse: Fine Print Selections from 1980-2020 is on view in the Kantgias-DeSalle Gallery. 

From the beginning of the 1980 decade, not far off Telegraph and Quarton Road, sets a small bungalow converted from a gardener’s house, once part of the Book Family summer estate, on Wing Lake that would become the studio for the master printer Norman Stewart.  Fresh from his MFA at Cranbrook Academy of Art in 1977, he continued his work as an artist, and began the process of inviting artists to come and reside in the studio to create their editions in printmaking. Likely one of a kind in the country, the renovation included living quarters to the visiting artist leading to a vibrant and productive relationship that would last for many years.

Although there are several exceptions, the majority of work presented by Stewart & Stewart is screenprinting, (occasionally known as “silkscreen,” or “serigraphy”) where ink is pushed through an applied stencil on a stretched fabric frame against the surface of the paper. Sometimes there is only one screen (Martha Diamond, Vignettes) in this exhibition and as many as 32 screens ( Hugh Kepets, Astor and Catherine Kernan, Traversal I) for a single print.  Unlike many other printmaking processes, a press is not required, as screenprinting is essentially stencil printing and usually produced in editions.

Although early roots of screenprinting can be traced to the ancient Orient,  the artistic expression that began in the United States was in the 1930s. Among the earliest were Harry Gottlieb, and Ruth Chaney, that went on to include nationally known artists such as Josef Albers, Bridget Riley, and Andy Warhol. Although we see other printmaking techniques by artists used in this exhibition that include archival pigment prints, relief prints, lithographs, cliche’-verre, and intaglio prints such as etchings and aquatints, none of these execute the kind of cumulative range of modulation, color, and transparency, and surface treatment as thoroughly as the screenprinting process.

Nancy Sojka former curator of Prints and Drawings, Detroit Institute of Arts remarked,  “These prints are a small part of Norm and Susan Stewart’s living legacy which currently stands at more than two hundred editions — excluding additional 100-plus monoprints by several different artists from among the thirty-five with whom they have collaborated. This prodigious body of work could not have been realized without having a bold vision tempered with sound judgment, extremely hard work, good bookkeeping, and a persistently positive outlook. Over the course of these last four decades the Stewarts have remained true to a central guiding principle.”

Judy McReynolds Bowman (American),  Mom in Harlem, 22″ x 30″ archival pigment print, 2020.

Judy Bowman’s work has arrived on the art scene in Detroit after a hiatus from working as an educator in the Detroit Public School System and raising her family of ten children.  After graduating from high school, she began taking art classes at Spelman College, Atlanta, while adding  classes at Morris Brown College and Clark Atlanta University, majoring in Art.  The large paper collages as in Mary Don’t You Weep,  flatten perspective and call out to Romare Bearden to appear, are reflections on her rich life experiences.  Her focus relies heavily on composition and color, and folk felt subjects that seem to be filled with images of family, relationships, love and faith, and the African American community.  The honesty of Bowman is in full force in these slices of colorful cut and pasted paper.

Janet Fish (American), Leyden, 12-color screenprint,  28.5″ x 41”, 1991

Janet Fish is known primarily for her densely detailed, richly colored, complexly composed still life work often lit with an intensity that matches its informational overload, Fish revels in the delightful inherent contradictions of her elective craft. The objects that serve as armatures for color and light in her work are exuberant in their state of flux.  The conceptual, formal, and iconographic history of the still life genre confirms our own experience.  Fish earned her MFA from Yale in 1963 and is an artist who does oil painting as well as printmaking, lives in New York City, and Middleton Springs VT, and is represented by the DC Moore Gallery. During her evolution, her fellow classmates included Chuck Close, Nancy Graves, Robert Mangold, and Richard Serra. The tight-knit group who formed an intense, ambitious, competitive genus that motivated one another to develop and defend their work. In her work, Leyden, light plays the leading role in both subject and background. Janet Fish created ten fine art screenprint editions in residence at Stewart & Stewart’s Wing Lake Studio starting in 1991, and her impressive body of work included a fine art screenprint edition commissioned by the Detroit Institute of Arts in 1996.

Jane E. Goldman (American), Ellen’s Window 20-color screenprint, 29.75″ x 21.75″, 1990.

In her work, Ellen’s Window, the 20-color screenprint, looks down from above with this elegant diagonal composition of a bowl of fruit, cups on a tray, and window reflections. She says in her statement, “I make art to wake up, to dream, to understand, to speak to my colleagues, the world. My media includes painting and printmaking.” A nationally recognized painter and printmaker, she has taught at Massachusetts College of Art, UCLA, Rice University, and Hartford Art School; and been a visiting artist at many institutions, including Harvard University and Artist Proof Studio, South Africa. Jane Goldman was born in Dallas, Texas, and earned her B.A. degree from Smith College and M.F.A. from the University of Wisconsin.

Richard Bosman (Australian)  Rear View Night B, monoprint/hand painted, 21.75″ x 29.75″,  2017

Richard Bosman’s  Rear View Night B, is one monoprint/hand painted, as part of a series of images that include this review view mirror composition. The print image has a naturalistic palette with expressionistic additions of white, pushing toward the viewer with a kind of aggressive intimacy. Over the years, he has a list of themes that have driven the work: Profiles, Copy Cats, Doors, Artist’s Studios, Modern Life, Rough Terrain, American History, and Wilderness.  Bosman was born in Madras, India, in 1944 and raised in Egypt and Australia. He studied at the Byam Shaw School of Painting and Drawing in London from 1965 – 69 and at the New York Studio School from 1969 – 71. Bosman is the recipient of a Guggenheim Fellowship, and his work has been exhibited extensively, including solo shows at numerous international galleries, as well as in group exhibitions at venues including the Museum of Modern Art, the Walker Art Center, the Whitney Museum, and the Brooklyn Museum. The artist lives and works in New York City and Esopus, NY.

Hunt Slonem (American) Lucky Charm, 3-color screenprint,  41″ x 28.5″, 1997

Since 1977, Hunt Slonem has had more than 350 exhibitions at prestigious galleries and museums internationally. His work, Lucky Charm, is just a part of his many portraits of exotic birds, insects, and a variety of animals executed in a loose and expressionistic style that often includes the repetition of bright, colorful images with black outlines. His Neo-Expressionistic paintings of rabbits and tropical birds may be based on his personal aviary.  Slonem says. “But I’m more interested in doing it in the sense of prayer, with repetition… It’s really a form of worship.”  He studied painting at Skowhegan School of Painting & Sculpture in Scowhegan, ME; of Painting & Vanderbilt University in Nashville, TN; and earned a Bachelor of Arts degree from the Tulane University of Louisiana. Slonem’s works can be found in the permanent collections of 250 museums internationally, including the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art, the Whitney Museum of American Art, the New Orleans Museum of Art and the Joan Miro’ Foundation.

Those who specialize in printmaking, understand that there is a close collaboration that is required between an artist and a printer in realizing any print, of course with an occasional artist who works entirely alone based on a specialized set of circumstances. Stewart’s approach is a balance between his own sensibility and that of the artist supporting the creative thought and conception with the technical sequence required by the process.  The outcome is a paradoxical blend of formal and non-formal elements that the viewer reads simultaneously. The appearance of around the clock ease masks the strenuous work, complex technical skill, and long hours that actually define the activities of the artists.  Stewart, often accompanied by assistants, has brought hundreds of new editions and monoprints, into being for the last forty years.

For a partnership in printmaking that has endured for forty years, it is important to recognize Norman and Susan Stewart and their steadfast years of work.  Both were born in Detroit, and attended the University of Michigan for their undergraduate work. Norm’s graduate work at the  University of Michigan and Cranbrook Academy of Art, and Susan’s graduate work at the University of Michigan provided the base for their success. It is a relationship where each skill set has complimented the other to produce a world class collaboration of art, design, and master printmaking.

Stewart & Stewart has published an on-line catalog:  Collaboration in Print, now available at StewartStewart.com to read and/or download for later reference.

Each artist name in this exhibition and catalog has a link to his/her images and biography.

Jack Beal, Richard Bosman, Judy McReynolds Bowman, Nancy Campbell, Susan Crile, Martha Diamond, Connor Everts, Janet Fish, Sondra Freckelton, John Glick
Jane E. Goldman, C. Dennis Guastella, Keiko Hara, John Himmelfarb, Sue Hirtzel, Sidney Hurwitz, Yvonne Jacquette, Hugh Kepets,  Catherine Kernan,  Clinton Kuopus, Daniel Lang, Ann Mikolowski, Jim Nawara, Lucille Procter Nawara, Don Nice,  Mary Prince, Mel Rosas, Jonathan Santlofer, Jeanette Pasin Sloan, Hunt Slonem, Steven Sorman, Norman Stewart, Paul Stewart, Richard Treaster, Titus Welliver

The  Birmingham Bloomfield Art Center’s exhibition  Glimpse, produced by Stewart & Stewart now runs through June 18, 2020 by appointment.  Simply call the BBAC at 248.644.0866 in advance of your planned visit.

 

Angela Glajcar @ K.OSS Contemporary Art

Angela Glajcar, K.OSS Contemporary Art Installation image 2020

K.OSS Contemporary Art presents Angela Glajcar in a solo exhibition titled “My Silence Is My Self Defense.” Glajcar was born in Mainz Germany and studied at the Akademie der Bildenden Künste in Nuremberg. She achieved Master Student status and has been the recipient of several prestigious awards. Following her Detroit exhibition at K.OSS, she has a show at the National Museum of Women in the Arts, Washington D.C. this June.

Angela Glajcar, Terforation  Installation detail

K.OSS’s IG promotional images of achromatic abstract paper sculpture caught my attention;  “My Silence Is My Self Defense” sealed my curiosity. The title was taken from a Billy Joel song “And So It Goes” where the lyrics read:

In every heart there is a room
A sanctuary safe and strong
To heal the wounds from lovers past
Until a new one comes along

I spoke to you in cautious tones
You answered me with no pretense
And still I feel I said too much
My silence is my self defense

And every time I’ve held a rose
It seems I only felt the thorns
And so it goes, and so it goes
And so will you soon I suppose

But if my silence made you leave
Then that would be my worst mistake
So I will share this room with you
And you can have this heart to break

And this is why my eyes are closed
It’s just as well for all I’ve seen
And so it goes…

I’ve been intrigued with low- to no-color work as I’ve been following Daniel Arsham for a while. In a welcomed respite to current trends where the viewer is regularly bludgeoned with color, the absence of it makes the work intrinsically calmer. It invites introspection and is instinctively meditative. Glajcar takes us on an other-worldly foray into cloudlike glacial caves of transparency, light, and shadowy layers; ever peering into the soul of an unchartered destination.

Angela Gajcar,  Terforation Installation 50 x 39 x 196″

Successful diatonic work is a feat in itself. It’s a lot like losing one of the five senses forcing you to rely on the remaining four to evaluate your surroundings. An artist requires some serious skills to pull off strong work without the use of color. The piece can’t rely on a shock of red to salvage a mediocre composition. Sculpture affords depth in its naturally occurring dimensions. The viewer has the luxury of physically circumnavigating the piece, interpreting it from every available angle. Representational sculpture allows the viewer to seamlessly connect through an easily recognizable subject. Glajcar has created abstract work that draws the viewer in via mysterious allure. Her expansive installation is particularly compelling in that every person who attended the opening found themselves absorbed in their attempt to discover its secrets by looking through the piece from one end to the other; even placing themselves into the middle of it, determined to force the piece to revelation. We looked again, deeper, closer: each reexamination whispering like a best friend revealing the latest gossip.

Glajcar writes, “I have chosen one of my ”Terforations“ as a “route“, is a way of dealing with space. My work in general is about exploring how space is experienced. “Terforation“ is a term I established by myself. It partly stems from perforation (from the Latin for hole, foramen), that is, the perforation of hollow or flat objects. It also refers to terra, the Latin word for earth. It alludes to the term terra incognita (unknown land; figurative: new land) to indicate that my work is about exploring unknown regions. For terra incognita hints at a vague idea, the supposition of knowledge as yet not clearly definable. The object refusing to be defined more clearly is the shape, the space created by the horizontal layering of sheets of paper with holes in them. To draw the viewer’s attention to this interstice, this void, it is never possible to look straight through the works, because the holes are positioned such that the hollow stretches into the unknown.”

Angela Gajcar,  Terforation,  installation detail

Although the paper material is quite heavy at 300g, it reads exquisitely graceful. The sculpture at once takes and gives space. The hand-torn edges grant detail to the Universal language of exploration; the search for love and sanctuary.

Glajcar writes, “Using paper was somehow the end of a long journey. After working with wood and steel I found out that paper is meeting my particular
requirements perfectly. Initially, paper appears light and fragile. Depending on its quality and layering, however, it can also be heavy and resilient. Since paper is made of natural substances and is therefore perishable like any other natural tissue, it takes up a position halfway between natural and artificial. In contrast to wood or metal it absorbs color and is permeable without being of any color itself. Paper can be processed without any tools – although this requires quite a bit of effort – and can easily be agitated, so that the works that already give the impression of floating begin to sway, casting a moving shadow. For me no other medium is of such a wide range of possibilities.”

Angela Gajcar,  Terforation,  installation detail

The smaller pieces seem to be abbreviations of the larger installation but miraculously hold an element of the same unsolvable mystery. The search for resonance isn’t as deep yet delivers satisfactory vibrations. In our world’s persistent cacophony of jarring frequencies, Glajcar’s work offers a momentary hiatus, allowing the viewer’s breath to relax and return to peace.

Installation by Angela Glajcar is on view at K.OSS Contemporary Art through March 28, 2020