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Concepts in Glass

Running from April 11, 2011 to May 15, 2011 in the Main Gallery

Curatorial Opportunity Program (COP) Selection                                

Curated by Hillary Faccio. Artists include Hillary Faccio, Alan Klein, James McLeod, Christopher G. Watts

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Concepts in Glass features the work of four Boston-based artists who explore glass as a sculptural and conceptual medium:  Hillary Faccio, who is also the curator, and three faculty members at the Massachusetts College of Art and Design— Alan Klein, James McLeod and Christopher G. Watts.  Traditionally, glass is associated with functional and everyday objects –tableware, vessels, stained windows and other decorative art objects.  Concepts in Glass will exhibit glass as a conceptually driven artistic medium central to the practices of artists today.


Curatorial Statement

This show explores glass as a sculptural medium.  It brings together 4 artists, Alan Klein, Christopher Watts, Hillary Faccio and James McLeod, who consider glass through sculptural and conceptual lenses.  Glass is a traditional material usually associated tableware, vessels, stained windows, and other decorative arts.  This show will exhibit glass as a rich and viable sculptural medium.

One of James McLeod’s main themes is memory.  He questions the origins of his memories: where do they come from, are they accurate, do they evolve or decay.  He also addresses tension between seemingly soft materials and materials more aggressive in nature.  He creates objects that illustrate tension, release and balance.

Hillary Faccio’s body of work was inspired by petroglyphs.  They made her contemplate the origins of language.  What is language and how does it evolve.  How do we find meaning in language and what does it say even if we can not understand its intended meaning.  Her free standing sculptures are three dimensional abstractions of early petroglyphs which could also be interpreted as language.

Alan Klein’s work deals with certain aspects of time.  An action frozen in time or an interaction frozen in time, a “Moment of Intertia.”  He uses the properties of glass from molten to solid to demonstrate this frozen plastic moment. His form language is meant to reference body parts or tools.  His intent is to invite the viewer to look further into the piece.

Chris Watts is a master Venetian glassblower; he uses various glass techniques to create a conceptually driven body of sculpture that addresses issues of race, class, and perceived and agreed value.  He uses the natural beauty of the material as an entry point for viewers to read the narratives that are at the heart of his installations and material choices.  His current body of work is shaped by four primary artistic interests: the concept of material history, the truth of value relative to perception, the notion of appearance as identity, the act of looking and appraising as creation.

Christopher G. Watts, There But for the Love of God Go Us All

Alan Klein, Medicine Bowl

James McLeod, Memory Container 12

Hillary Faccio, Tall Yellow

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