JAMIE BOYD - #9
Studio 11
453 11th Street Suite A (11th & Exchange)
glass, photography, printmaking
email: azure10@juno.com
Handicap accessible
Will be doing a demonstration during the studio tour
I focus on transforming my pen and ink washes of figures and portraiture into glass. I like the challenge of moving a one-dimensional image toward a more sculptural form. Inspired by Seurat and Chuck Close, my recent series reflect the look of pointillism, where an image close up looks abstract, but farther away the components blend into a portrait. I capture emotion through the shapes and shadows of the face or figure, using cut string and found-glass shapes in a kiln-formed method. Using fewer tones or values keeps a sense of connection between an original sketch and the new glass form.
Over the years, new inventions of kiln-formed glass free up the medium to allow for greater expression. Glass infuses light into portraits, and the intensity of that illumination or color provided adds extra dimensions. Not only does glass teach me to see in a new way, I find it encourages the viewer to be more actively involved with my subjects, encouraging them to come closer, to want to touch a piece to test its reality and texture.
What an exciting time to be working in glass, with its renaissance pulling so many artists across the boundary of craft into fine art. I teach and or learn, from the BeCon conference 2006 to workshops at Bullseye Glass Co., where I studied painting with light, box-casting and compound imagery by layering glass.
Studio 11
453 11th Street Suite A (11th & Exchange)
glass, photography, printmaking
email: azure10@juno.com
Handicap accessible
Will be doing a demonstration during the studio tour
I focus on transforming my pen and ink washes of figures and portraiture into glass. I like the challenge of moving a one-dimensional image toward a more sculptural form. Inspired by Seurat and Chuck Close, my recent series reflect the look of pointillism, where an image close up looks abstract, but farther away the components blend into a portrait. I capture emotion through the shapes and shadows of the face or figure, using cut string and found-glass shapes in a kiln-formed method. Using fewer tones or values keeps a sense of connection between an original sketch and the new glass form.
Over the years, new inventions of kiln-formed glass free up the medium to allow for greater expression. Glass infuses light into portraits, and the intensity of that illumination or color provided adds extra dimensions. Not only does glass teach me to see in a new way, I find it encourages the viewer to be more actively involved with my subjects, encouraging them to come closer, to want to touch a piece to test its reality and texture.
What an exciting time to be working in glass, with its renaissance pulling so many artists across the boundary of craft into fine art. I teach and or learn, from the BeCon conference 2006 to workshops at Bullseye Glass Co., where I studied painting with light, box-casting and compound imagery by layering glass.
