¶ 1 Leave a comment on paragraph 1 0
¶ 2 Leave a comment on paragraph 2 0 Following our group tutorial it was suggested that I try and further develop the glass work with additional mirrors and a flickering flame rather than a light.
¶ 3 Leave a comment on paragraph 3 0 I was also encouraged to further look at viewing through blurred glass.
¶ 4
Leave a comment on paragraph 4 0
¶ 5 Leave a comment on paragraph 5 0 looking through painted glass screens
¶ 6 Leave a comment on paragraph 6 0
¶ 7 Leave a comment on paragraph 7 0
¶ 8
Leave a comment on paragraph 8 0
¶ 9 Leave a comment on paragraph 9 0 I used tea lights under the glass but the light wasn’t as strong. The results were more subtle
¶ 10
Leave a comment on paragraph 10 0
¶ 11 Leave a comment on paragraph 11 0
¶ 12 Leave a comment on paragraph 12 0
¶ 13 Leave a comment on paragraph 13 0 I decided to stand the glass panels on their edge in a fan-like arrangement against the mirrors
¶ 14
Leave a comment on paragraph 14 0
¶ 15
Leave a comment on paragraph 15 0
¶ 16 Leave a comment on paragraph 16 0
¶ 17
Leave a comment on paragraph 17 0
¶ 18 Leave a comment on paragraph 18 0
¶ 19 Leave a comment on paragraph 19 0
¶ 20 Leave a comment on paragraph 20 0 I then laid the glass panels in a box like shape and was really interested in the resulting images
¶ 21
Leave a comment on paragraph 21 0
¶ 22
Leave a comment on paragraph 22 0
¶ 23
Leave a comment on paragraph 23 0
¶ 24
Leave a comment on paragraph 24 0
¶ 25 Leave a comment on paragraph 25 0 When I came to this image I started to imagine this as a large scale installation work. I made a mood board. I don’t know where I found the image of the installation shown below. It was in a box of images I keep that that I found interesting. Suddenly the image had new possibilities for me.
¶ 26
Leave a comment on paragraph 26 0
¶ 27 Leave a comment on paragraph 27 0
¶ 28 Leave a comment on paragraph 28 0 My own reflective glass image led me to look at further large scale pieces and I was drawn to this work by British artist Glen Onwin. His 1919 exhibition As Above, So Below took place in a derelict chapel in Halifax. the work explored various alchemical process. In this work and artificial concrete pool was filled with a mix of water, black brine and wax. The ceiling and walls are reflected in the pool. I love the way this looks like an antique mirrored floor
¶ 29
Leave a comment on paragraph 29 0
NIGREDO – Laid to Waste, Glen Onwin, 1991
¶ 30 Leave a comment on paragraph 30 0
¶ 31 Leave a comment on paragraph 31 0 I was also drawn to the work of Nike Savvas. The 2005 work used polystyrene coloured balls strung on nylon wire which moved in the wind of the electric fans.
¶ 32
Leave a comment on paragraph 32 0
¶ 33
Leave a comment on paragraph 33 0
¶ 34 Leave a comment on paragraph 34 0
¶ 35 Leave a comment on paragraph 35 0 I was also inspired by Ron Haselden’s installation Coliseum (1989). This work could only be seen at night through the windows of the gallery. The work had three large circles of light that ‘appeared to spin and also run back and forth through space’
¶ 36
Leave a comment on paragraph 36 0
¶ 37 Leave a comment on paragraph 37 0 Coliseum (1989), Ron Haselden
¶ 38 Leave a comment on paragraph 38 0
¶ 39 Leave a comment on paragraph 39 0 Finally I tried to reimagine my glass pieces in a large scale. Large painted glass panels are back lit and placed over mirrors. Painted glass panels would intersect the installation.
¶ 40 Leave a comment on paragraph 40 0 This work entitles ‘Inside Corona’. It is reminiscent of disease viewed through a microscope. The audience moves through the exhibition like the live organisms found under a microscopic slide. Corona also refers to the rarefied gaseous envelope of the sun and other stars and of part of the body resembling a crown. The work will have a golden glow and a regal presence.
¶ 41 Leave a comment on paragraph 41 0 What started with a humble pair of specs has morphed into this……
¶ 42
Leave a comment on paragraph 42 0
¶ 43 Leave a comment on paragraph 43 0 Inside Corona (2026), Tracey Exton
