CRISTALLO'S "SCULPTURE INVITATIONAL"
A High Impact Gallery Show Featuring 25 Artists

Every piece in this show will affect you! From your first glimpse as you enter the gallery, your eyes will widen. The materials throughout the show are a surprise. Unusual elements, unique assemblage, and unexpected subjects comprise a show that will shake your perspective from its foundation.

From the initial cold blast emanating from the huge glass and sisal compositions by Clay McGlamory, you will be roped in. When you zero in for a closer look, you'll see that the framed compositions consist of broken glass bottles. "Reaching Inside," "Upward Spiral," "Void," and the propulsion of "Exploding" are harsh realities in sculptural form that could represent an artist's visions within. From that thought, your attention is directed to Virginia Van Horn's pastoral scene of "The Stable at 4 a.m." The barn has a frame but no sides or roof, and the horses are waxen images made from a substance that looks like straw: proof that we are what we eat. The diorama is set in the mystical "between time" of pre-dawn, freezing the motion eerily. Your own motion brings you in front of Matthew Fine's sculptures of substance: "Core Screw" and "Vanity." The mirror of the vanity is marble which has been carved to encircle a void. Looking into it is a look through it and outside the gallery landscape window. "As within, so without." We learn about ourselves as we look for a reflection that does not look back.
 

In a feeling that is returned over and over, Neil Duman's "Sweet Seduction" is the manifestation of giving and receiving. It is infinity expressed through blown glass in a continuous curve. The color, the gleam, and the smooth textures stretch in a bewitching combination. Spiral your attention around the front gallery to a grouped assortment of captivating glass sculptures by Elizabeth Mears. As you focus on "Shelter for My Soul," you ponder what provisions you have made for your own soul. Gossamer tendrils make you wonder, as do the strands of the web head in "Head with Feathers." As you head around the room, you will see a triumvirate of primitive tripods. Pam Lassiter's "bamboo vessels" of conic containers are upheld by the simplest of substances reminding us of our appreciation for the supporting role of nature. Grace exhibited in a variety of natural forms is depicted in Mark Henderson's stiff "Standard Dancers with Skirt." They are a still life in motion, elegant in a choreographed, cold, metallic precision. Also using the element of metal, Amy Gerhauser welded steel chairs. "Tiny Recliner," "Queen's Chair" and "Princess Chair" are diminutive geometric furnishings that would be comfortable for anyone trained to bellow, "Off with her head!" A chair of another sort, life-sized and approachable, is Walt Akers' "Glasgow/Prairie Chair" inspired by the art of Frank Lloyd Wright and Rennie Mackintosh. The wood, the design, and the heart worked together in creating this furniture. The heart is clearly visible in Buddy Clark's "Clearly Love." It is a graceful bottle and stopper covered in hearts reaching out from the artist through his clear and frosted glass.

Another soft approach is employed by Ruth Scarlott with her hand cast paper assemblages "Shaman's Vest" and "Talisman" which are complete with totems, symbols, and spiritual direction. The pieces shout into an ephemeral realm. Also calling into other worlds are Jude Schlotzhaur's "Bounty," "Gift of the Earth," and "Calling the Gods." The magnificent fused glass, decorative wall-mounted plates depict an Egyptian aura that respectfully calls across time and space to powerful forces.

Lucartha Kohler displays goddess energy in her green mermaid goblets, blue goddess goblets, and "Goddess Bowl" swirling with dynamism. Expressing the power and grace of the goddesses is her cast Triple Goddess supporting a delicate glass bowl that appears to look like alabaster. Yvonne Piper uses clay to bring "Soul Searcher," "Twins," and "Day Dreamer" to life. In their simplicity, they speak eloquently. Ralph Holmes uses glass and other substances to contrast emotions. Some pieces such as "Going My Way" and "American Pie" incorporate his ballistic, artistic nature. "Tony the Chicken Alfredo", a plastic chicken with ponytail, displays a nature better left undefined.
 

"Glass Houses" and a series of black and white photos of an antiquated laboratory also show a range of skills for Michelle Tillander. The houses encase photographs and are open, honest displays. The photos, on the other hand, are hazy camouflage for Truth. We question our perceptions-not the artist's depictions.
Throughout the galleries, you realize that you are initially captivated by technique but ultimately enthralled by each artist's impact on you. Works in glass, metal, wood, clay, porcelain, mixed media, paper, neon, and stone are works in the gift of imagination and talent. Each subject is expressed not in any subtle way but by grabbing your focus. Only after having examined every piece, will you finally realize that you had been holding your breath. "Sculpture Invitational" takes your breath away.

You are cordially invited to visit the "Sculpture Invitational" from May 20 to July 15, 2000. Cristallo Art and Glass Studio is located in Williamsburg at 309 McLaws Circle, Suite A. Gallery Hours: Mon-Fri 10-5:30, Sat 10-2, and by appointment. For directions or a summer schedule (for children's, hot glass, fine art, stained glass, and crafts classes) call 757-259-9222.

Frances W. Ward, Ph.D.
May 17, 2000

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