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1979 Reynolds artist statement
Title1979 Reynolds artist statement
Artwork Description1 p. Gil Reynold's 1979 artist statement.
LC SubjectArt -- Documentation
Biography
CreatorReynolds, Gil
Regional Arts CouncilThe Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Lane Arts. You may view their website at http://www.lanearts.org/
Award Date(s)1979
Source Formatblack and white
documentss
Artwork SiteEugene Oregon. State Office Building
Site Address165 E. 7th Street, Eugene Oregon
CountyLane County, Oregon
Relates to ArtworkUntitled (Reynolds)
LanguageEnglish
Full Text2007-02-02GILGIL REYNOLDS\ FUSION GLASS WORKS FUSED GLASS, A NEW DIRECTION I would like to tell you a little bit about myself and my art work. For the past nine years I've lived in the small college town of Monmouth, Oregon. My full-time occupation is operating a stained glass shop out of my premises. The mainstay of my work has been designing and building custom architectural stained glass windows. In 1978 I studied with Ludwig Schaffrath at the Pilchuck Glass Center. His influence greatly affected the manner in which I approached the designing of my architectural pieces, but the real excitement that summer came from what Dale Chihuly was doing in the "hot shop". It was here that I experienced first hand the spontaneous qualities one could achieve by working molten glass. I knew I could combine hot glass techniques with my existing glass skills. Back home I designed and built an electric kiln to use for firing painted pieces as well as slumping and fusing. Faced with successful painting experiments and disastrous fusing and slumping results, I focused on painting and began using it in some of my commissions. The technical information I needed for fusing and slumping was made available at Pilchuck the summer of 1981 where Klause Moja was teaching a class on the subject. It was here I also met Boyce Lundstrom from the Bullseye Glass Co. and was introduced to the palette of fusible sheet glass he had developed. Upon returning home, my excitement about fusing motivated me to go right to work experimenting with the process. Fusing in many respects is still in its infancy due to limited systematic' research in this area. I approached Bullseye with some volume experiments I had performed and they were impressed with the scientific approach and the details of a grant were established for continued work. Many aspects of fusing, such as color and shape control; the use of frits; the mold making process; and an organized approach to teaching fusing had not been carefully developed. It is to this task I have applied most of my attention these' past five months. The results of my efforts can be viewed in a series of fused sculptures which I call the "Space Scape" series. The works are actually about an artist and his creations existing in intellectual and spacial voids. I present these ideas in a nine-sided, non-functional form which was derived from a combination of octagonal Oriental plates and traditional bowl forms. I deal primarily with biomorphic and geometric elements suspended in various spacial relationships. The works are technically unique in that the borders are controlled from the start, not cut and polished after the piece is completed. They also utilize. spontaneous, organic shards and cane which are "hot-worked" in the kiln. When cold these elements are cut, shaped, ground, sandblasted and composed according to preconceived designs. This mixture of hot and cold work is what gives life to fusing. It represents a marriage of hot and cold techniques resulting in a set of shapes and forms unique to the fusing and slumping process. Of course, process alone does not make good art. Process only creates the opportunity for skill levels and ideas to merge. One's ideas are only as good as the ability to actualize them. Fusing and slumping have allowed me to actualize ideas I only dreamed of before. 565 W. MAIN ST. • MONMOUTH, OREGON 97361 • 503-838-2856
RightsCopyright is retained by the artist or author. All rights reserved.
ContributorsUniversity of Oregon Libraries; Oregon Arts Commission
PublisherUniversity of Oregon Libraries
Digital Collection TitleUniversity of Oregon. Libraries. Oregon Public Percent for Art Digital Collection.
Contributing InstitutionContributing Institution
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