The Story behind ...
Subliminals
When I started working on the SUBLIMINALS series, I had a concept and very specific plans. I took those plans as far as I could. I challenged the material; a lot of the pieces broke. Yet I couldn’t let go of my fixed notions of how I wanted to move forward. I was in a dialogue with the glass and not always a peaceful one. The unfinished pieces teased me, called me out. I had no choice but to approach the glass in new ways, allowing more space for intuition, letting the material speak to and guide me. The glass invited me into new forms and directions that led me back to where I wanted to go in the first place. The resulting series of sculptures are a visual testament to the hopeful struggle that pervades 2022 as I navigate the challenges in my personal world and the impact of unfolding world situations. With vaccinations, better treatments, and a better understanding of the COVID19 pandemic we are moving back into pre-pandemically common settings. It’s exciting, and yet deep insecurity and heightened nervous awareness accompany the re-entry. On top of that, the gruesome reality of war challenges the global order and moral beliefs on a grand scale. We are all deeply shaken. The process of creating this series became a metaphor for going forward in life in 2022: We plan, but we cannot plan it to the end. Ultimately, we need to move step by step, responding to what is emerging, while keeping sight of our ideals and vision. The first pieces of the series start with the brushstrokes that form an Ensō circle. The glass is further transformed by forcing it into a fragile thinness that corresponds rather directly to the stretched emotional state in which I find myself. At the same time, the glass is vibrating and strong; there is energy that excites. With further development in the SUBLIMINALS, partial circles appear, points emerge, and evolved brushstrokes allow new forms. We try to make meaning by comparing what we see to something familiar
Portal