April in Chicago is always cold and gray and rainy. But spring blossoms are braving it and as happens every April, I’m inspired to find new leaf shapes and ideas for ‘clean line’ foliage. I’m exploring some irregular geometries to encode the idea of constant change and transformation we see in nature. I’m also trying much lower contrast versions…all new for me.
urban vine v1 | irregular geometric leaf v1 | silver background | hand cut glass + concrete c Heather Hancock 2022
urban vine v2 | irregular/rounded geometric leaf v2 | silver background | hand cut glass + concrete c Heather Hancock 2022
urban vine | hand cut glass + concrete c Heather Hancock 2022
New vocabulary and technique invariably lead to new bigger ideas. I’m thrilled to be working on new proposals for large scale installations—and enjoying the vibrant array of greens and blues in front of me right now.
If you have follow my work you know I often work in grayscale. In part, working with a limited palette keeps me focused on form and composition and I love the spare elegance of grayscale art. Black/white glass is also an economical way to explore ideas. It is less expensive than colored glass and allows me to maintain a smaller glass inventory in the studio.
That said, most of my commissions are realized with color. Working with art consultant Debbie Sotzsky of Art Matters on an installation for a DC area lobby, I used the clients’ color way to develop a complementary glass palette. This made for the right vibrancy and drama for a contemporary light-filled lobby.
detail | Scan: MOVE 10 panels 13’ x 8’ hand cut glass + concrete c Heather Hancock 2021
Scan: MOVE | 13’ x 8’ (10 panels of hand cut glass + concrete ) c Heather Hancock 2021
I love how this project turned out and I’m excited to be working on next concepts.
Let me know if I can help out with any projects on your desk right now. I’m always available to brainstorm how art can be integrated into beautiful spaces.