I spent the better part of 2 years figuring out how to draw architectural forms with glass. I developed a consistent glass palette. I learned to cut in perspective. I gradually came to understand negative space and how the concrete texture could work as shadow. I got more confident in reducing complexity consistently to get to cut-able resolution of essential elements.
There’s something I’d love to see happen with this precision architectural cutting. Something that gets even closer to the immersive, embodied experience of being in the city. And something that brings nature back onto the canvas. Buildings are incredible looking up from the ground. So are trees. Light filtering through leaves. Could I bring the built world and natural world together in the REFLECT series? In order to do foliage, I’d probably need the whole thing in color.
mock up | looking up Chicago with foliage c Heather Hancock 2023
Although. Wait a minute. How about this. The buildings in grayscale and the foliage in intense color are incredibly beautiful too. And solves the problem of finding the right blues in glass. Interesting.
mock up | looking up Chicago with foliage c Heather Hancock 2023