The
Artist: Brad Abrams, Sculptor in Glass
Born in Allentown, Pennsylvania in 1965, Abrams received
his formal education at the California College of the Arts, studying
under Marvin Lipofsky. He was further influenced under the tutelage
of the late American ceramicist, Viola Frey (1933-2004). Her guidance
is seen in Mr. Abrams work to this day. Both mentors, in addition
to being raised by an artisan mother and a metallurgist father,
appeared to have been major influences on Abrams' thought processes
as well as his inventiveness in choosing glass as a material for
his artistic expression. Continuing in the ways of abstract expressionism
reminiscent of both Lipofsky and Frey, Abrams' latest composition
is a series of sculpture in glass, collectively called "Pathetiglyphs."
Pathetiglyphs and Glass as a Media of Artistic
Expression
The various elements in Abrams' latest work cause
the pieces to be read slowly as in the language of hieroglyphs.
In the case of the Pathetiglyphs, these are ironic juxtapositions
that involve the abstraction of toys. The images in Abrams' work
range from poking fun at society's sacred cows to pondering the
conflicts of morality to dealing with the sometimes mundane nature
of human existence.
With the addition of color, glass normally transparent to visible
light becomes a wonderful media for creating vibrant images. Place
any of the Abrams' pieces near natural light and the art transforms
throughout the day. The placement of Abrams' work, whether in an
office, a home, a gallery, or a museum collection, and the experience
of viewing the art at different times of the day, combine to make
these works not only the artist's but the owner's as well.
The Work
Abstract art mimics the internal life of the artist.
The process begins with the artist interpreting with the mind's
eye their world and putting his or her thoughts into a media that
can then be understood by others. Is this perhaps why art fascinates
us? Art allows us to see inside another person's mind - to see inside
the psychological lives of others and at the same time, perhaps,
catch a glimpse of our most vulnerable selves. Indeed, we are all
voyeurs.
"The inescapable truth is that art is intertwined with life,"
says Abrams. "To first become an artist you must open your
soul, expose your feelings for the world to see." Some put
those feelings onto canvas, while Abrams pours his world into glass.
His world is at times confusing, painful, chaotic, exhilarating,
passionate, and filled with the knowledge of human suffering. As
viewed in his sculpture, life also involves escape and the pursuit
of bliss. In many ways, Abrams pushes the bounds of human comfort
with pleasure. In his new work, Abrams comes uncomfortably close
to this moral conundrum. Toys are used symbolically throughout the
series, which are suggestive of sin, human ascension from the primordial
abyss, materialism, joy, pop culture, perversion, and ultimately,
rebirth.
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