Page 147

Loraine Lynn

ART Habens

and spatial level. With Manufactum, I was thinking about factory production and how it relates to glass and the idea of condensing these large scale operations into something that could speak to its impact in a sculptural sense. With works like Distortion and constructionem the optics and how the site was viewed and engaged with were important aspects within both of those pieces. Distortion is an object produced from blowing and sculpting glass that blurs the space around it due to the material’s inherent traits. That makes it the most literal of my recent works in that its purpose is to blend in and manipulate the space its occupying. On the other hand, constructionem is meant to interact with unique architectural aspects of the exhibition space and I will elaborate more on this piece in the next question! , Your works, and in particular are structured in order to drive the viewers through a surrounding visual experience: what were you aesthetic decisions in relationship to the exhibition space, in order to provide constructionem with such visual and also tactile quality? Loraine Lynn: constructionem was created, partially, from chance. There happened to be a very interesting architectural feature specifically pillars - in the exhibition space. I really wanted to integrate the space into the work, to consider it as a material rather than a place for display. I think the glass being colorless, along with the transparency of the pallet wrap, give the work a tactile quality. There’s also a tension, literally and metaphorically, within that work. Seeing glass held in place by something so thin and seemingly flimsy puts people on edge and that’s of particular interest to me. I really like having that sort of edge to my work and to get

21 4 08

Special Issue

Profile for ART Habens

ART Habens Art Review, Special Edition  

ART Habens Art Review, Special Edition  

Profile for arthabens