Shifting Countenance
2015 matte inkjet print depicting model wearing a flameworked borosilicate glass mask dimensions for mask: 9.5” x 7” x 4.5” dimensions for print: 32 x 24
The Most Unkind Morsels of the Self Removed (detail)
2016 found denim jacket, blown glass shards, gaffer tape, safety pins denim jacket: women’s size medium, installation dimensions variable
She Told Me Life Was Infinite II
2016 paracord, blown and hot sculpted glass 1 ft x 4 ft x 4 ft
Monthly Archives: April 2016
Helena Parriott
Helena Parriott is a painter and sculptor working with diverse mediums including glass, paint, and machinery. Through various projects, she
Call and Response
Gaffer Frit 2012 7 ½”x 2 ½x 1 ½” The first in a series based on previous paper-cut work. This piece deals with relationships of symbols and symmetry.
Pom-Pom Tower
Pom-poms, glass 2015 3’x 1’x1’ Part of a collaborative installation with Pam Sabroso at the Pelham Arts Center in New York consisting of several pom-pom covered pedestals, floor lamps, and hanging sculptures.
Centerpiece Triptych 2
Mold blown and freehand blown glass 2016 Dimensions vary Another example of a combination created for the Urban Glass Gala.
Alison Siegel
Norwood Viviano
Norwood Viviano’s work from his installation Cities: Departure & Deviation was shown at the 2014 Architecture Biennale in Venice. He
“Like Remembering a Dream the Day After” (Part III)
Glass, neon, lemons and mixed media. Blown, mirrored, gold-leafed and carved glass and “carbonized” lemons. 10’ X 12’ X 6’, 2016.
“Like Remembering a Dream the Day After” (Part II)
Eggshells, rubber, glass, neon and mixed media. Blown and found glass with pinned eggshells. 10’ X 12’ X 6’, 2012-2015.
Lemon Pile Light
Erica Rosenfield
“Sólo hay dos flores: la amapola y la rosa”/ Close up
“The Same Way a Light Sound”
Titled after the poem “The Same Way a Light Sound” or “Como leve sonido” by Luis Cernuda—exiled and Queer poet from the Generation of ’27: Spain’s Tragic Literary Generation The sculptural body of work presented comprises nine different pieces of annealed float glass. The standing forms are fragmented cylinders that have been severed, beaten or drilled, then glued or sewn back and re-envisioned through the insertion of hair. In exploring iterations of empathy and materiality they speak of new orders and systems. Slumped glass, adhesive, graphite, hair, high-density conglomerate wood Slumping, coldworking, sewing (lacing), glueing, wood carpentry, painting Installation of variable dimensions; platform measures 5 x 8 ft./ Glass forms are 31 in. tall Year 2016
“Sólo hay dos flores: la amapola y la rosa”
Titled after the poem “Flores” from the book Orfebre by Leopoldo María Panero—Spaniard contemporary poet Goat kidskin translucent parchment, silk thread, acrylic glass box Hand wet stitching, box building Dimensions of installation are 15 x 15 x 15 in. Year 2015
Pablo Vindel
Works & Days (Installation View)
Mixed Media Works & Days was an exhibition that referenced the farmer’s almanac, historically a collection of long range weather forecasts, aphorisms and entertainment, to address issues radiating from climate change and the significance of the naming process in regards to a new epoch. Dimensions Variable 2016
Weather Pattern
Pate de verre This piece was made to replicate a climate map, abstractions of real data made to be easily consumable by an audience. 48” x 32” x ½” 2016
Who Owns the Moon? (Detail)
Blown and Mirrored Glass bottle with Ethanol, Blown and Mirrored Glass bottle with Methanol It is said that if you cook moonshine too long, it generates methanol which can make you blind as opposed to drunk. This piece is a reminder that whether claiming land on the earth or land on the moon, they are both versions of colonial projects. 10” x 10” x 4” 2016
Kristen Neville Taylor
Eamon DeFabbia-Kane
Eamon DeFabbia-Kane is an artist and fabricator currently living in working inBrooklyn, NY. Here, he works in several different artist
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