Day Light, 2013
Wood, glass, concrete steel, metal leaf
Courtesy of the artist and Winston Wachter Fine Art Gallery, Seattle
Seattle-based sculptor Ann Gardner explores light, line, and volume through her works, known for their luminous color washes and complex shapes. She notes, "I try to keep the human dynamic alive in my work by applying a shimmering, hand-cut 'skin' of glass... as the light changes, so does the work—mysteriously throwing color, shadow, and volume into play." Gardner has exhibited extensively, receiving many professional awards including an artist residency at the Pilchuck School of Glass. Her work can be found in public and private collections nationally, including Seattle Art Museum, Washington; Corning Museum of Glass, New York; National Museum of American Art, Washington, DC; and Microsoft Corporation, Washington.
Architectural and sculptural forms in combination with subtle pattern and variations in hue characterize Gardner’s glass mosaic pieces, which possess a timeless, ephemeral quality. In her most recent works, she continues to challenge the limits of her medium, creating freestanding outdoor sculptures, ephemeral pieces suspended in air, and grand-scale installations of increasing complexity.
Day Light was commissioned from Gardner by Bellevue Arts Museum as one of a series of chandeliers by local and national artists to be featured in the grand space of the Forum.
Courtesy of Karen LaMonte and Austin Art Projects
Originally from New York, Karen LaMonte has spent more than a decade in the Czech Republic, challenging the limits of cast glass to produce life-size dresses—emptied of their inhabitants. Since her 1990 graduation from the Rhode Island School of Design, LaMonte has explored the motif of clothing as a metaphor for identity and human presence.
After focusing for a decade on dress styles characteristic of Western society, in 2006, LaMonte turned her attention to the clothing of Japan and its most iconic embodiment, the kimono. A seven month residency in Kyoto allowed her to research all aspects of the garment's production, form, function, and social significance, after which she produced a series of kimono sculptures cast in glass, bronze, and ceramic. "How the kimono is worn parallels the relationship between Japanese individuals and their society," she explains. "Putting on a kimono is literally about erasing the individual’s identity and joining the group." Karen LaMonte has been the recipient of numerous prestigious awards, including a National Endowment for the Arts Creative Artists Exchange Fellowship, which made possible her residency in Japan. Her works can be found in museum collections worldwide.
Chairs V, 2011
Machine-cut paper, folded and glued
Courtesy of the artist
Sarazen Haile's folding chairs take us by surprise with their Lilliputian scale. Placed around the Bellevue Arts Museum galleries, tucked in corners and on ledges that are often overlooked and traditionally unused, Haile's chairs elicit wonderment and bring the viewer to places of the past and of the heart.
The artist writes, "I see 'place' as an all-encompassing term combining physical location, memory, people, interactions, and objects from an area to create a complex reality. In making my work, I look at the factors that make up this definition of place. Inspired by these observations, I attempt to make tangible the intangible – the moment, memory and loss. These are areas of life that are often overlooked, yet have the ability to completely alter our perspectives, to change our lives." Made primarily from paper, her work is fragile and fleeting, yet labored and significant.
As you explore the museum, look around for Sarazen Haile's installations in unexpected and unassuming places.
Puget Sound, 2012
Bellevue Arts Museum celebrates German-born, Australian artist Klaus Moje, the 2013 winner of the prestigious Libensky/Brychtová Award.
Few artists have had such a broad impact on the development of a medium as Klaus Moje has had on kiln formed glass. BAM pays homage to Moje's bravura and vision by featuring Puget Sound, in conjunction with the exhibition Links: Australian Glass and the Pacific Northwest at Museum of Glass, Tacoma, on view from May 17, 2013 to January 19, 2014.
Puget Sound was inspired by the great Northwest waterways throughout the region. Created while Moje was at the Pilchuck Glass School, this special new piece continues the strong Australian tradition of the artist's personal connection to their surrounding geography.
BAM members receive $2 off admission at Museum of Glass for the duration of the Links exhibit.
Joan's Cloak, 2011 - 12
Glass and plexiglass
74 x 78 x 2.5 in.
Courtesy of the artist and Elizabeth Leach Gallery
Deborah Horrell is a Portland-based glass artist with a focus on pâte de verre and cast glass methods. She received her MFA from the University of Washington in 1979, and after working as a ceramist for many years, participated in the Pilchuck Glass School's visiting artist program in 1994 followed by a residency at the Bullseye Factory in 1996, which permanently changed her trajectory as an artist. Horrell has shown her work, in both ceramic and glass, at museums and galleries throughout the country.
Joan's Cloak is one of the most recent and monumental examples of Horrell's wall installations, made in tribute to her friend and fellow Portland Institute for Contemporary Art trustee, Joan Shipley, who died on September 2, 2012. Upon learning of Shipley's terminal illness, Horrell began making a pair of pâte de verre wings, a means of having an elegiac conversation with Shipley, of processing her sadness at losing her friend, and of preserving her memory. The wings are constructed of hundreds of imbricated, slightly convex cast teardrops in gradated values of red and yellow. The pâte de verre medium creates a thin, fragile, ragged edge to each component, like the deckled edges of handmade paper, and evocative of a bird's feather.
Cameron Anne Mason
Soft Coral, 2012
Hand-dyed and printed silks, cottons, rayon, silk/rayon velvet, linen, non-woven polyester innerfacing, and polyester, rayon and cotton threads hand- and machine-stitched
Courtesy of Foster/White Gallery
Largely self-taught, Cameron Anne Mason combines her love of textiles and surface design technique with her background in graphic design and performance. Her work has been seen nationally and internationally and locally she is represented by Foster/White Gallery. She teaches surface design and sculpture in workshops at Pratt Fine Art Center and recently for the Surface Design Association and Studio Art Quilts Associates.
Cameron says of her work, "Fabric is fundamental to my process. It is an intimate part of our lives. It protects us from the elements, gives us comfort and a means to express ourselves. It is sensual and essential. I am drawn to fabric because of its changeability and its constancy. Fabric is the skin that clothes my work."
Fragments #9, 2005
Pacific madrone, bleached, sandblasted
Courtesy of the artist
"Fragments #9 exploits the multiples concept with intriguing results. Assembling thin slices of warped madrone timber into a grid like composition, Burchard creates works of variety and visual character. The language of the wood, including knots, color grain, texture, warped surface and contour, along with the relationship of individual pieces to each other and to the whole, offer a provocative visual experience." -- Mark Richard Leach
Traces of the Molten State, 2008
25.6 x 51 feet each
Courtesy of the artist
The Seattle-based artist is known for her "glass pyrographs," ethereal drawings made by literally painting with the fire and smoke emitted from hot molten glass. Her pyrographs are just one way in which Ichikawa captures fleeting moments – both in the physical and emotional world. The light and airy Museum Forum features three large-scale pyrography scrolls made specifically for BAM as part of her first museum solo exhibition.
Photo: Richard Nicol
Peter Pierobon is a sculptor inspired by the natural beauty of the Pacific Northwest and the art of the Inuit, African, Northwest Coast Indians and the Aboriginal Australian cultures. His goal is to create objects that are delightfully functional and at the same time sculptural in focus. The chair literally mimics the human form as it offers support to the human body. The chair also departs from this function through exaggeration (four legs) as it engages it metaphorically.
Sandstone and bronze
84 x 16 x 16 inches
Miach was inspired by Speidel's visit to the Avebury Stone Circle in Wiltshire, England. The Avebury Circle is the largest stone circle in Britain, dating back to 2,500 BC and cloaked with mysteries that archaeologists have only begun to unravel.
The length of time for the main continuity of use of the Avebury complex throughout the Neolithic and Early Bronze Age was, according to present dating studies, around 2,300 years. This lengthy span of time and the vast size of the whole complex give testimony to the fact that the Avebury temple was perhaps the most significant sacred site in all of Britain, if not the entire continent of Europe. Miach, made of sandstone and bronze, represents the power and life inherent in the stones of Avebury.