Chloe Rizzo

Chloe Rizzo

For many years I have been interested in the segue between the different processes within the medium of glass. I am interested in the benefits of the particular process in regard to the concept.

The foundation of my work lies within the understanding of primordial forms and their purpose throughout history and how they may be understood in a contemporary context. These forms repeated throughout history by different, and separate cultures for a similar purpose. Using this as the initial basis for my research, I have then linked this to the aesthetics found in Czech glass, starting with Professor Stanislav Libensky and Jaroslava Brychtova, and the ideas that are found in Cubism and Constructivism.

I utilize the scientific method when approaching my research. I believe that artists and scientists are inherently linked. This foundation allows me to draw from a multitude of resources in art history, psychology, and physics while considering my primary philosophy.

As my work has developed, I’ve utilized a repeating dialogue incorporating space and time, using visual elements that are inherent in solid cast glass and then how these same ideas can be applied to the medium of hot sculpted glass. While some sculptures lend themselves to rigidity, allowed by the specific process, there is a fluidity and color application accessible when translating to hot sculpted, cast glass.

I am interested in the interior space as an element and how this cooperates with the form and the exterior space. In this application, light becomes an important factor. By thinking of light as an element of construction, the light allows me to conduct the viewer, as well as the space within the object and eventually the space around the object. Light is essentially the defining and primary factor in cast glass and what links the latter.

These elements, together with the intuition gained with experience, have led to ways of creating a discussion for the potential of new space. All of these elements together become extremely significant in my research. They do not operate independently. Rather, they work cooperatively and cannot exist without the other. As a sculptor working in glass, it is my charge to understand and harness these properties to enable the work to be conceived. With this in mind, consider the idea of “Imagineering.” Due to the nature of the material I must have an awareness and intuition that allows for the manipulation of light, which in turn constitutes a multiplication of space.