QUESTIONABLE FORMS. Nathan J. Nardi August, 2009

Transcription

1 QUESTIONABLE FORMS A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Fine Arts by Nathan J. Nardi August, 2009

2 Thesis written by Nathan J. Nardi B.F.A., Jacksonville University, 2004 M.F.A., Kent State University, 2009 Approved by, Advisor Sean Mercer, Director, School of Art Christine Havice, Interim Dean, College of the Arts John R. Crawford ii

3 NARDI, NATHAN J., M.F.A., AUGUST, 2009 ART QUESTIONABLE FORMS (24PP.) Director of Thesis: Sean Mercer Questionable Forms is a series of hot sculpted cold worked abstract glass sculptures. The sculptures make groupings that suggest small, fantastical worlds. These objects may recall similar imagery from the natural world geodes, fungi, Venus fly traps but with their bright colors and lavish surfaces they also suggest playful, imaginary, and dream-like forms. The forms themselves are in no way imitations of specific, naturally occurring objects, and this leaves them open to a variety of associations for the viewer. 1

4 TABLE OF CONTENTS Page TABLE OF CONTENTS...iii LIST OF FIGURES...iv ACKNOWLEDGMENTS...v QUESTIONABLE FORMS...1 REFERENCES...24 iii

5 LIST OF FIGURES Figure Page 1. QF QF QF3 (Green Bug)...7 4a. QF4 (Orange Pod)...8 4b. QF4 (Orange Pod) (detail) QF5 (Dr. Seuss) QF6 (Eggplant, Purple Nurple) a. QF7 (Lemon Bug) b. QF7 (Lemon Bug) (detail) QF8 (Cherry Drop) a. QF9 (Alien) b. QF9 (Alien) (detail) a. QF10 (Bulbous Green) b. QF10 (Bulbous Green) (alternate view) a. QF b. QF11 (detail) QF a. QF13 (Predator) b. QF13 (Predator) (detail)...23 iv

6 ACKNOWLEDGMENTS Special Thanks to all those who helped and made this show Possible: Dad, Mom, Davin Ebanks, Drew Shipka, Sott Kreider, Dan Alexander, Clark DeCapite, Greg Willet, Erin Pike, Andy Bixler, Ben Eliot, Lisa Held v

7 QUESTIONABLE FORMS 1 Nature, color, light, inner vs. outer: these are the main themes from which my series, Questionable Forms, developed. The sculptures make groupings that suggest small, fantastical worlds. These objects may recall similar imagery from the natural world geodes, fungi, Venus fly traps but with their bright colors and lavish surfaces they also suggest playful, imaginary, and dream-like forms. The forms themselves are in no way imitations of specific, naturally occurring objects, and this leaves them open to a variety of associations for the viewer. Upon first glance, the viewer is likely to sense my appreciation for insects, arachnids, and the like. This vast range of species includes everything from the familiar (wasps, bees, butterflies, dragonflies, ants) to the more unique variations that are highly specialized and only exist high on mountains, or in barren deserts. I find myself drawn more deeply to the physical characteristics that some may describe as ugly, scary, or creepy however, I am fascinated with the countless variety of color patterns, textures, and shapes that flourish in the insect world. Although the purpose of these adaptations may be to attract prey, scare away predators, or camouflage themselves, they serve as seemingly endless inspiration for my work. Insects wear their skeletons on the outside and it is these exoskeletons that make up their shapes and colors. This protective outer layer remains even after the insect has died and the internal organs and circulatory system have completely disintegrated. In a way I find blown glass to be similar. The form is hollow and the outside layer or layers make up the interesting patterns, colors, and textures. There is a suggestion of solidity, but closer inspection reveals that there is no internal structure, only a shell.

8 In addition to insects, my work in this thesis exhibition also draws inspiration 2 from various plants. For example, the purple coloring and oblong shape of QF6 (figure 6a.) resemble the features of an eggplant. Similarly, the shape and color QF7 (figure7) is reminiscent of a lemon, while the round, luscious shape and deep red pigment found in QF8 (figure 8) could remind the viewer of an enlarged cherry. All three of these pieces have subtle, matte surfaces, which are cut into to reveal bright, juicy interiors. Decorative elements such as spikes may seem like thorns or horns (figure 9a. and 13a.) or balls may seem like seeds, berries or eggs (Figure 4, 6, 8, 10,) or at other times like eyes (figure 1, 2, 13). Certain pieces suggest carnivorous plants (figure 9, 13). Colors and shapes may remind the viewer of the Venus flytrap, pitcher plant, or some orchids. These plants often have more subtle colors on the outside and bright seductive color on the inside to attract their prey. With cold working and layering of color I am able to add surface interest to my pieces. Several of the pieces displayed could be seen as geodes or gemstones (figure 11b, 13b). The color and optical qualities of glass can seem similar to that of rocks and minerals. Glass can also be carved, cut, and polished to exploit different surface qualities. Polished gemstones can have similar optical qualities to polished glass. Geoids have rough raw shells with matte color on the outside, so one may never know what is on the inside until it is broken open. Once broken open it may reveal a beautiful surprise with a gemstone like inside or possibly nothing more than a reflection of the outside (figure 4b). As much as my work references organic matter and life forms, an equally influential source of inspiration is the glass itself. Glass is a unique material because it is a fluid soft substance in its hot state, which allows it to be easily manipulated into organic

9 forms, contrary to that in its cold state glass is a rigid hard material, which can then be 3 machine cut, ground, and polished. The use of glass allows me to manipulate colors and create surfaces unlike any other. I am fascinated with its optical qualities, and ability to magnify and distort light in ways different than most material. In addition to its versatility as a material, the actual act of working with the glass is an integral part of my creative process. I usually started each piece with a rough sketch, but I also relied heavily on a more intuitive/interactive approach. With this series I was not especially interested in utilizing glass as a vehicle for communicating a particular concept or theory. Rather, I was interested in exploring its formal, structural, and optical capabilities in relation to the organic forms that I am inherently drawn to. Other times my ideas come together as I am examining parts I have previously made or by working with the hot glass at the furnace. The way I work the glass has many similarities to traditional glass blowing. One of my biggest influences as an artist is William Morris. The ideas behind his work are much different than mine; however his process of hot sculpting, cold working, and piecing together sculptures and installation works heavily influenced the techniques I employed in creating the questionable forms. Often his pieces are hot-worked, annealed, then cut, etched, or sand blasted, and then reheated and hot-worked some more. All of the pieces in this series were constructed in a similar manner; starting with hot sculpting, followed by cold working and then assembly. There is also a strategic use of hot and cold glass techniques in each piece. Morris also uses a rich color palette, taking advantage of the brilliant colors available to the contemporary glass artist. At first glance some of his pieces may look

10 4 like ceramic, but upon closer inspection there is a glow and luminance of color that only glass has. Another artist whose influence can be seen in my work is Jon Newman. He creates nonrepresentational, multi-media sculpture. The abstract forms which he creates have...qualities [that] jostle each other in his idiosyncratic creations so that we can never quite name what appears before us, though we are compelled to try and do so. One may look at figure 7 and see a lemon, a bug, sea form, or pod of some sort. Many of the forms Newman sculpts are organic and have a feeling of movement. Figure 13 the curvy horn and spike shapes pull the viewers eye around the piece and look like they are about to move. However exotic the shapes and associations may be, there are underlying themes and gestures. While Questionable forms may relate to different creatures or plants the overall theme behind the series is influenced by the properties and process of working glass. Many works in this series have similar qualities of looking in polished windows to find beautiful surprises of intricate color patterns or interesting optical reflections. The form of these objects is left open to interpretation, reminding the observer of anything from fungi, alien life, or Dr. Seuss. While the ideas for the works are derived from plants, insects, geodes, and other sources the observer is left with a wide berth to view them in their own way. Bright colors and the natural world form the foundation of a concept for the creation of these objects; the viewer is left to interpret them in their own way with little constraint. Creating the works to be questionable objects allows the observer to decide for themselves what the strongest influences are.

11 Figure 1. QF1. Hot-Sculpted and Cold-Worked Glass

12 Figure 2. QF2. Hot-Sculpted & Cold-Worked Glass

13 Figure 3. QF3 (Green Bug). Hot-Sculpted & Cold-Worked Glass

14 Figure 4a. QF4 (Orange Pod). Hot-Sculpted & Cold-Worked Glass

15 Figure 4b. QF4 (Orange Pod) (detail). Hot-Sculpted & Cold-Worked Glass

16 Figure 5. QF5 (Dr. Seuss). Hot-Sculpted & Cold-Worked Glass

17 Figure 6. QF6 (Eggplant, Purple Nurple). Hot-Sculpted & Cold-Worked Glass

18 Figure 7a. QF7 (Lemon Bug). Hot-Sculpted & Cold-Worked Glass

19 Figure 7b. QF7 (Lemon Bug) (detail). Hot-Sculpted & Cold-Worked Glass

20 Figure 8. QF8 (Cherry Drop). Hot-Sculpted & Cold-Worked Glass

21 Figure 9a. QF9 (Alien). Hot-Sculpted & Cold-Worked Glass

22 Figure 9b. QF9 (Alien) (detail). Hot-Sculpted & Cold-Worked Glass

23 Figure 10a. QF10 (Bulbous Green). Hot-Sculpted & Cold-Worked Glass

24 Figure 10b. QF10 (Bulbous Green) (alternate view). Hot-Sculpted & Cold-Worked Glass

25 Figure 11a. QF11. Hot-Sculpted & Cold-Worked Glass

26 Figure 11b. QF11 (detail). Hot-Sculpted & Cold-Worked Glass

27 Figure 12. QF12. Hot-Sculpted & Cold-Worked Glass

28 Figure 13a. QF13 (Predator). Hot-Sculpted & Cold-Worked Glass

29 Figure 13b. QF13 (Predator) (detail). Hot-Sculpted & Cold-Worked Glass

30 24 REFERENCES Kistler, Ashley. Disguise the Limits: Sculpture & Drawing by John Newman. Spring Blackbird. Vol. 3, #1. 3, July < Rubenstein, Raphael. A Stealth Revolution in Sculpture: John Newman. Johnnewmanstudio.com. 3, July < =text>