Upcoming Show
Tender
February 11-March 2, 2012
Opening Reception: February 11, 5:30-9:00pm
Robert Madsen Gallery
5448 Shilshole Avenue
Ballard, Seattle, WA 98017
(206) 225-0178
rmadsengallery@gmail.com
Hours:
9am-4:30pm, Monday-Friday
or by appointment
About the Artist
Rebecca Arday is a graduate of the School for American Crafts at the Rochester Institute of Technology (RIT) where she completed her BFA in Glass in 2008. She is a former Pilchuck Emerging Artist in Residence, and was a member of the 2008 RIT Student Exchange at the Bullseye Glass Factory in Portland. Rebecca has shown within the states, as well as overseas in the annual selective exhibition “Young and Loving” hosted by s12 Gallery in Bergen, Norway. Publications of her work include the New Glass Review 30 published by the Corning Museum of Glass. Rebecca has been the registrar at Pilchuck Glass School since 2010, and continues to learn, explore, and create work there.
Artist Statement
My work is strongly influenced by my childhood upbringing as the daughter of an antique glass collector. Frequenting antique malls and old homes, I have developed an innate interest in antique items, their quality in craftsmanship, their evidence of use, and their ability to evoke memory and emotion – regardless of one’s lack of personal history with them. I am especially interested in items that document their relationship with their owner through wear (or perhaps lack of wear if deemed precious), and sometimes as literally as bearing a monogram.
Renaissance anatomy drawings, mourning jewelry, portrait miniatures, and objects that relate to or mimic the body, such as gloves, mannequins, and makeup compacts all provide inspiration for me. I am interested particularly in the emotional responses that these evoke – attraction vs. repulsion, sentimentality, sorrow, longing – and their ability to do so at often a very small and personal scale.
My work explores a number of glass processes, all of which are employed to ideally create the illusion of other materials – wood, shell, skin, fabric, etc. I also use glass for it’s historical scientific references, transparency, and ability to transmit and hold light; these properties often aid in its transformation. Ultimately, I utilize the found object as a historical framework that suggests the credibility of my fabricated additions, helping to disguise their material dishonesty in the midst of a new story.
Tender
February 11-March 2, 2012
Opening Reception: February 11, 5:30-9:00pm
Robert Madsen Gallery
5448 Shilshole Avenue
Ballard, Seattle, WA 98017
(206) 225-0178
rmadsengallery@gmail.com
Hours:
9am-4:30pm, Monday-Friday
or by appointment
About the Artist
Rebecca Arday is a graduate of the School for American Crafts at the Rochester Institute of Technology (RIT) where she completed her BFA in Glass in 2008. She is a former Pilchuck Emerging Artist in Residence, and was a member of the 2008 RIT Student Exchange at the Bullseye Glass Factory in Portland. Rebecca has shown within the states, as well as overseas in the annual selective exhibition “Young and Loving” hosted by s12 Gallery in Bergen, Norway. Publications of her work include the New Glass Review 30 published by the Corning Museum of Glass. Rebecca has been the registrar at Pilchuck Glass School since 2010, and continues to learn, explore, and create work there.
Artist Statement
My work is strongly influenced by my childhood upbringing as the daughter of an antique glass collector. Frequenting antique malls and old homes, I have developed an innate interest in antique items, their quality in craftsmanship, their evidence of use, and their ability to evoke memory and emotion – regardless of one’s lack of personal history with them. I am especially interested in items that document their relationship with their owner through wear (or perhaps lack of wear if deemed precious), and sometimes as literally as bearing a monogram.
Renaissance anatomy drawings, mourning jewelry, portrait miniatures, and objects that relate to or mimic the body, such as gloves, mannequins, and makeup compacts all provide inspiration for me. I am interested particularly in the emotional responses that these evoke – attraction vs. repulsion, sentimentality, sorrow, longing – and their ability to do so at often a very small and personal scale.
My work explores a number of glass processes, all of which are employed to ideally create the illusion of other materials – wood, shell, skin, fabric, etc. I also use glass for it’s historical scientific references, transparency, and ability to transmit and hold light; these properties often aid in its transformation. Ultimately, I utilize the found object as a historical framework that suggests the credibility of my fabricated additions, helping to disguise their material dishonesty in the midst of a new story.
