New Work, November 2014
Under Some Sea Somewhere, 19 x 14 x 11, 2014, glass.
Making
For three upcoming exhibitions and the final panel of Cynthia's garden trellis installation, I've been making fruits and leaves.
Leaves and Buds for "Spring Cyclone. Leaves and small plums for Cynthia's trellis.
For a group exhibition at Elga Wimmer Gallery in New York in December, I will show two pedestal and three wall pieces. This group of pears is for a wall piece. I love the colors I am able to achieve for pears. I apply at least 10 layers of various colors to achieve my organic surfaces.
Upcoming Exhibition Schedule
Meadows Museum of Art, Centenery College of Louisiana, November 7, - December 19, 2014. Shreveport, LA 318-869-5040 http://www.centenary.edu/meadows
Elga Wimmer PCC Gallery, group exhibition, December 11 – 23, 2014. New York, NY http://www.elgawimmer.com/
Founders Hall Art Gallery, Soka University, solo exhibition, January 15 – May 10, 2015. Aliso Viejo, CA http://www.soka.edu/about_soka/our_campus/art-gallery.aspx
Franklin G. Burroughs – Simeon B. Chapin Art Museum, solo exhibition, January 8 – April 12, 2015. Myrtle Beach, FL 843-238-2510 http://www.myrtlebeachartmuseum.org/
Euphrat Museum, De Anza College, group exhibition of authors coupled with visual artists, February 2 - March 19, 2015. Cupertino, CA 408-864-5464 http://www.deanza.edu/euphrat/
Waterworks Visual Arts Center, solo exhibition, May 23 – September 12, 2015. Salisbury, NC 704-636-1882 http://waterworks.org
New Cyclone in the Works
I spent Saturday making 60 flower petals for a new cyclone. Hours!
I used two colors. "Bubble Gum", which is opaque, and "Pink", which is transparent with less layers, translucent with multiple layers.
Here they're sorted out ready to be assembed.
Artsy Editorial
FEATURED BY ARTSY
Reality, Artifice, and Nature in Kathleen Elliot’s Blown-Glass Forms
It was an epiphany in a friend’s garage that led Kathleen Elliot to eventually shift course and pursue a career as a glass artist: She had been invited to try glassmaking in her friend’s makeshift studio, and left with a new passion for the centuries-old techniques. Guided by books and trial and error, she gradually honed her skill and style. By 2000, nine years after she first set flame to raw glass and gave it shape, she was enrolled in courses at the famed Pilchuck Glass School, where she moved from making beads to the more complex, sculptural forms for which she is now celebrated.
Elliot is fueled by an interest in blurring the line between reality and artifice. “What is real?” she asks. “How do you know? After three decades of studying philosophy and alternative spirituality, these two questions are the foundation of my artwork.” She explores these questions through natural forms and phenomena, focusing principally on intricate, convincingly naturalistic sculptures of plants, including edible, non-edible, and, sometimes, questionably edible varieties. Some of her pieces, like Gourds (2006) orBlue Moon Pods (2007), appear real enough to pluck. Others, including Flight (2013), are more abstract. This piece is composed of a branching network of vine-like shapes tipped by forms resembling leaves, feathers, or flower petals; it reads as a bird’s wing or a tangle of roots and shoots. InQuestionable Food #1 (2012), part of the artist’s “Questionable Foods” series, the natural and the artificial are uncomfortably merged in a plant that sprouts dangerous fruit, its flesh composed of stitched-together scraps of soda and beer cans. In this work, with its references to the degradation of the environment and our health with our glut of processed products, it is all too clear what is real and what is not.
—Karen Kedmey
Gourds, 2006
Blue Moon Pods, 2007
Flight, 2013
Pomegranate Pod, 2012
Questionable Foods #1, 2012
Tumbleweed Before its Tumble, 2011
Tumbleweed from Elsewhere, 2014