Shadow Play, 2012
30’ x 40’
In response to Torrington’s history and the potential of its future visionaries, the multi-sited “Shadow Play”, an artwork commissioned for the new Children Museum on Main St., highlights the nature of play as a creative activity.
The title “Shadow Play,” is a contextual as well as visual riff on the name of the museum, “Kids at Play”. Suggest Silhouetted figures housed in the windows of a luminescent wall attached to the front of the museum, are manipulated images of Torrington children holding translucent spheres inside of which are photographs of landscapes surrounding Torrington. These encapsulated "worlds" that the children seem to be playing with refer to the town's present and future. The children are viewing into a suggested “magical” crystal ball, as if to see all the wonder of the present and all the promise of what lies before them.
On the actual windows on the building behind the attached wall panel, and in back of the transparent photographs of the children, are translucent photographic images of the Warner Theatre costume designers at work. In this spatial interplay between the implied and actual windows, there are more aspects of the word "play", but now its adults at creative work on "plays". Behind these photographs of the designers, will be the actual designers whose movement back and forth, especially during the evening when preparing for an upcoming production, create another kind of kinetic shadow play.
The Falling Edge, 2004-2015
Wide Awake Garage Publishing, Daniel E. Kelm, publisher
Designer: Greta Sibley
Production: Duggal Color Solutions
The Falling Edge is a creative project produced in collaboration with poet Kim Bridgford. It is comprised of three books based on our travels to Iceland, Venezuela, and Bhutan. One of the goals for this series was to experiment with the notion of the book as a possibly redundant physical structure in an increasingly ephemeral, internet-driven world – how to understand the printed word and photographic image at its “tipping point.”
Iris Rondel, 2011
Museum of Glass
Permanent Collection Exhibition
25” diameter hot worked glass incorporating soda technique
Developed during two artists residencies at the Museum of Glass in 2008 and 2009 as one of 15 pieces, Iris Rondel, part of the Rondel Series, was the culmination of an extensive focus on light, perception and the workings of the eye. Formed to project iris-like images on the wall, the clear glass rondel acts as a mediating format in which light passes through the surface and is both reflected and refracted off the planned interventions and irregularities in the piece’s interior.
Rondels, small hand-blown glass circles, were developed for sanctuaries in the mid-15th Century. These pieces of thin colored or stained glass utilized natural light’s ability to transmit and transform interior spaces. In doing so, it aided in “transporting” the church worshipers to a spiritual realm, another reality.
Intimacies: Transparencies, 2010-2016
The word intimacy comes from the Latin intimare, meaning “impress” or make “familiar”. There is also another kind of intimacy, one that is physical and and implicity sensual. In a series of documented personal discoveries and private performances I am using the term “intimacies” to define seemingly unrelated explorations. These singular revelations often lead to a broader understanding of my own Internal motivation and basic interests and in their totality eventually help to manifest a more layered conceptual cohesion.
The Weight of Words, 2015-2016
Installation 4’ x 9’
End cuts of found books
2” x 1 ½” x ¾”
A continued interest in formal rhyme schemes and an interdisciplinary exploration of the interweaving of poetic and visual arts structures influenced the ongoing Pauses and Punctuation Series, initially developed at the Penland School of Crafts and installed as The Weight of Words, in the Elizabeth Foundation 901 studio in 2015.