06-26-2012
I am a Mark Maker and Nothing More
Glass and Paintings by John Brekke is currently on view in the FXFOWLE Gallery. I recently had the opportunity to speak with John about his work and the influences and inspiration behind the pieces on display.
A self-described "mark maker," your work is composed of "lines, scratches and strokes." Can you explain the various techniques employed to create the diversity of scale and shape in your sculptural work?
I use a variety of "mark making" tools in my work. For my paintings I use traditional tools that build up surfaces: paint brushes, steel tip pens, and the like. In the case of my glass work I fabricate the marks "hot." They are formed from clear molten glass with layers of colored glass applied. Then I "reduce" the outer surface of the work by grinding away varying amounts of glass to expose separate layers of color until it arrives at a visual place quite similar to my paintings. In order to reduce the surface of the glass pieces I use various methods - sandblasting, high-speed diamond drills, and just about any tool with which I can scratch and carve away the surface.
View of the gallery
Often defined as abstract, the Icon Series — as its name suggests — employs imagery mostly of animals. Where did you derive inspiration for these pieces? Are the pieces meant to be viewed together or separate? Or both?
I draw my imagery from various sources — historic work, Minoan, classical Greek ceramics, and contemporary cartoons — basically a wide variety of influences. There are many recurring images in my work; for example, I have been coming back to fishes and rabbits for over 25 years. The icons, because of their scale, lend themselves readily to this kind of imagery. The glass disks on the other hand, are large enough that I find them more conducive to abstraction — with areas that I can freely draw lines and make my marks. The common thread between the Icons, the Roundels (glass disks), and the paintings is that they are done in a stream of consciousness. I have very little preconceived idea of what the end piece is going to be when I start. I begin by carving away at the glass and the imagery reveals itself as I work through the piece.
Any one of the works should be able to stand on its own artistic merit. At the same time, they work together because they reveal a visual pattern to the work.
Icons viewed in a series
Both the Icons and Roundels are sculptural glass pieces which incorporate a variety of techniques that require controlled choreographed movements. Perhaps you could walk us through the process of creating one of these fluid works.
The techniques that I use in my glass work are very similar to ancient Roman glassblowers'; these techniques have changed very little over the centuries. However, the introduction of technology has allowed glass chemistry to develop and stretch the limits of these ancient techniques. All the glassworks in the exhibition are fabricated from a furnace that contains around 600 lbs. of molten clear glass heated to 2000°F. The glass is gathered out of the furnace on steel pipes. Color is applied to the surfaces and then the forms are made by either blowing the steel pipe to produce a volume, or by using various steel tools, knives, and wooden paddles to sculpt the glass into its desired shape. The forms displayed in the exhibit are blank — meaning there is no imagery when they are fabricated. They function as a type of canvas, and after cooling for 24 hours the real work begins as I am able to carve the surfaces to create the imagery. When my carving is complete the pieces are very slowly heated up again in an oven to over 1000°F to fire out the "rawness" of the carving and soften the surfaces.
John working on a blown piece (image c/o the artist)
Glass and Paintings is on view through August 31st in the FXFOWLE Gallery. Please visit the exhibition Monday-Friday between 9am-5pm to experience the work for yourself.
by Sarah Cloonan
A self-described "mark maker," your work is composed of "lines, scratches and strokes." Can you explain the various techniques employed to create the diversity of scale and shape in your sculptural work?
I use a variety of "mark making" tools in my work. For my paintings I use traditional tools that build up surfaces: paint brushes, steel tip pens, and the like. In the case of my glass work I fabricate the marks "hot." They are formed from clear molten glass with layers of colored glass applied. Then I "reduce" the outer surface of the work by grinding away varying amounts of glass to expose separate layers of color until it arrives at a visual place quite similar to my paintings. In order to reduce the surface of the glass pieces I use various methods - sandblasting, high-speed diamond drills, and just about any tool with which I can scratch and carve away the surface.
View of the galleryOften defined as abstract, the Icon Series — as its name suggests — employs imagery mostly of animals. Where did you derive inspiration for these pieces? Are the pieces meant to be viewed together or separate? Or both?
I draw my imagery from various sources — historic work, Minoan, classical Greek ceramics, and contemporary cartoons — basically a wide variety of influences. There are many recurring images in my work; for example, I have been coming back to fishes and rabbits for over 25 years. The icons, because of their scale, lend themselves readily to this kind of imagery. The glass disks on the other hand, are large enough that I find them more conducive to abstraction — with areas that I can freely draw lines and make my marks. The common thread between the Icons, the Roundels (glass disks), and the paintings is that they are done in a stream of consciousness. I have very little preconceived idea of what the end piece is going to be when I start. I begin by carving away at the glass and the imagery reveals itself as I work through the piece.
Any one of the works should be able to stand on its own artistic merit. At the same time, they work together because they reveal a visual pattern to the work.
Icons viewed in a seriesBoth the Icons and Roundels are sculptural glass pieces which incorporate a variety of techniques that require controlled choreographed movements. Perhaps you could walk us through the process of creating one of these fluid works.
The techniques that I use in my glass work are very similar to ancient Roman glassblowers'; these techniques have changed very little over the centuries. However, the introduction of technology has allowed glass chemistry to develop and stretch the limits of these ancient techniques. All the glassworks in the exhibition are fabricated from a furnace that contains around 600 lbs. of molten clear glass heated to 2000°F. The glass is gathered out of the furnace on steel pipes. Color is applied to the surfaces and then the forms are made by either blowing the steel pipe to produce a volume, or by using various steel tools, knives, and wooden paddles to sculpt the glass into its desired shape. The forms displayed in the exhibit are blank — meaning there is no imagery when they are fabricated. They function as a type of canvas, and after cooling for 24 hours the real work begins as I am able to carve the surfaces to create the imagery. When my carving is complete the pieces are very slowly heated up again in an oven to over 1000°F to fire out the "rawness" of the carving and soften the surfaces.
John working on a blown piece (image c/o the artist)Glass and Paintings is on view through August 31st in the FXFOWLE Gallery. Please visit the exhibition Monday-Friday between 9am-5pm to experience the work for yourself.
by Sarah Cloonan