Duet (detail), cast iron with copper, 66 x 87 x 56 cm (26 x 34 x 22 in) 2006 photo s smuda
Duet, cast iron with copper, 66 x 87 x 56 cm (26 x 34 x 22 in) 2006 photo s smuda
A Place to Land, cast iron 20 x 23 x 23 cm (8 x 9 x 9 in) 2005
Tripod, cast bronze 13 x 14 x 17 cm (5 x 5.5 x 6.5 in) 2006
Propel, cast iron 34 x 28 x 28 cm (17 x 11 x 11 in) 2006
Homing Vessel, cast iron 28 x 34 x 18 cm ( 11 x 17 x 11 in) 2006 photo s smuda
Mutable, cast bronze 23 x 23 x 23 cm (9 x 9 x 9 in) 2007
Acorn Vessel, cast iron, 28 x 58 x 41 cm (11 x 58 x 16 in) 2010
I made these sculptures between 2003 and 2009, as I was learning the process of metal casting at artist residencies using piece molds made of resin bonded sand. For my patterns, I was using rubber balls, oil based clay, natural materials, direct carving and eventually separating the molds and building mother molds around them to contain the metal. I was interested in making thin castings which were fragile yet strong.
I was still studying modern dance and we practiced Rudolph Laban’s A Scales from his movement theory of Space Harmony. Kinesphere is a metaphor for the personal space around the body, Laban worked on a notation method for recording movement. I was looking to represent these ideas of pathways, levels and directions in sculpture. Although I had some sculpture as an undergraduate student, this was the beginning of my in depth study of three dimensional form. I was working to connect this to my understanding of movement I had been exploring in dance.
Two of these pieces were recently in an exhibition in Washington DC and are mentioned in the review in the Washington Post.
I started mining my dream journals of 25 years in 2010. I began to type them out and then read them aloud into a recorder. I soon realized the first line usually either set the scene, or the cast of character. The written document is 20 pages single spaced.
I projected it as a looped video text in 2016 in my studio exhibition in Germany. It felt less invasive for me for a German audience to read as they didn’t know any of the characters in the dreams. I wrote it exactly as I found it in my journals, leaving first and sometimes last names attached. Later in my sound work I would turn the names into pronouns to make the work more universal.
The work is written about in this review (in English and German.)
At the opening, the piece was projected onto the musicians Alain and Philippe Wozniak as they played.
Jupiter by Philippe Wozniak Part 4 of 5 from Liminal Spaces Alain Wozniak: Clarinet, Electonics Philippe Wozniak: E Bass
ProjekTraum l’Atelier Glidden Wozniak
Felicia Glidden Open Studio
March 6, 2016
Inspired by the research of Joachim Ernst Berendt Liminal Spaces uses frequencies calculated by the circulating time of the planets. An oscillator playing alongside the performance reproduces these frequencies. The melodies used are transcribed from traditional ceremonies of Native Americans from North-Central America.
Each movement describes another state of mind, the liminal space between dreams and real world.
The working title for this piece was Last Night Grandma Helped Me Make My Bed.
Temporary studio installation with Wrapped Piller foam, cotton rope, and plaster – Last Night Grandma Helped Me Make My Bed wood and juniper needles – Cigarette Machine ; cast iron, steel and small gifts from friends
Last Night Grandma Helped Me Make My Bed. This is the first sound piece. I layered the tracks to reflect the way memory can sometimes be muddled, partial and concurrent.
Here‘s a video where I used seven minutes of that soundtrack
Between Two Rivers III Steel, handmade paper, two channel video projection, sound 13:56 minutes dimensions variable 2014
This was in the exhibition Unterströmungen (Undercurrents) at Galerie Bagnato in Oberdorf, Konstanz Germany September 2014. Both channels play the same imagery, but not simultaneously. The primary visual thread through this work is an image of the movement of electrical wires. These are layered with images of water. The sounds are gathered from the streets of New York City, the shores of lake superior, and text from dreams I read where water (in one form or another) is mentioned. There are 60 individual paper and steel “bricks” which are not attached to each other.
Finally, in Felicia Glidden’s videos, the different translation methods of dreams converges and creates a work of art of spoken text, music, cinematic images of dream events, as well as natural and ambient noises. This is combined with some complex room installations. The result is not a replica of the dream, but the dream analogous sphere, as shown in the video “Between Two Rivers III” – the recording of a multimedia installation. Here the media used, which is continually broken up by the architecture itself, accompanies, comments on and contradicts each other. It creates an open connecting room for associations. In One and a half years of work, Felicia Glidden has created a wall for film projections. It consists of hundreds of cubes. Each is made of a metal skeleton which has been coated with hand-made paper. These cubes are now arranged in different formations – atop and next to each other, some of them are open. This wall acts as a breakwater for the film projected on it, which shows water surfaces, because water is in the dream sequence as described by the voice. The video “Between Two Rivers II” becomes the mosaic – ethereal because it denies the clear sense of tracking.
Felicia Glidden operates an artistic research, but it is not a dream interpretation that precisely robs the semi-conscious their essence. In Felicia Glidden’s art the tangible elements made of dreams retain their aura – the schemes of an immeasurable dark zone, with which they are associated.
Low pulse from bells resonating. Recorded in Weissenau courtyard (runs though entire piece) Cow bell recorded in the French mountains
Felicia: (voice over) Lying on a piece of paper on top of the water. Cow bell continues
F: They are digging with a back hoe. There is a bank of water next to the garage. Street sounds from New York City recorded in Midtown Manhattan
F: I splash my hands into it to get some of it to drain. Street sounds continues Birds singing, recorded in Switzerland forest near Schaffhausen Conversations on the street, brief music, owls and birds call
F: I swim in the slush water. Wheels from a suitcase on the sidewalk passes by, birds chirping
F: I am wondering how I will get the oil out. Christmas music, street sounds, whistles, people on the street, bus, birds
F: Why have I returned three times when my first escape was clean away? Bus driver speaking
F: The view is from above. Driver assistant “Where you headed?“ F “Greenbelt“ DA: “Oh the bus isn‘t here yet“
F: I see rice patties floating. They are divided into squares.
Still floating, but separated into squares, near the shore. Bells recorded at Schloss Salem, Bus idling, Bus Driver “This south Baltimore“ Bell strike 12 times
F: Bubbling up rapidly. I ask if we have gotten the drain, apparently, we had partially removed it.
One drain is clear.
F: Another scene I am swimming freely in the water.
Swimming which feels like flying.
Don‘t take up too much space as it’s already tight enough.
I turn the car around, and that’s when I found the abandoned homestead Crickets recorded in Maryland Jazz improvisation recorded in San Marco Plaza, Venice
F: I find the room again, but enter from a different door.
F: Soon I am trapped in a corner trying to be small. Libertango by Astro Piazzolla recorded in San Marco Plaza, Venice
F: A man goes up to the edge of the ice and acts like he’s holding it. Suddenly he‘s in the water, and the water is everywhere. Libertango continues, crickets, people in the courtyard Alain Wozniak bartering with a street vendor ”no no no no no one…“ Bells of Salem, fountain, vehicle drives by
F: There is a half door. A black woman walks up to me and starts talking song lyrics to me. I can‘t remember the song but rather the meaning.
I tried to stop her, but she went on to finish the entire lyric. F: We get to the dock and there is a busy restaurant. Accapella blues singing recorded in the New York City Subway 14th street station “Just don‘t let it change your mind“
F: I am impatient as I try to fix the boat motor. Singing continues, “he didn’t have no shoes, for a long time…just me and you, just a long time, don‘t you know no other man, don‘t you let it don‘t let it change your mind, aha, yeah ha whoa yeaha,“ baby cries Low pulse from bells resonating.
Felicia Glidden 30.08.2014
Ravelation is an original work inspired by Ravel, composed and performed by Alain Wozniak in the Galerie Bagnato for Kunstnacht Konstanz in September 2014 at the solo exhibition Unterströmungen by Felicia Glidden.
The second exhibition of Between Two Rivers was at Montgomery College in Maryland for an artist in residency in 2012, curated by Judy Stone. Students were invited to participate by adding their dreams Using japanese paper, glue and markers, and then rebuild the structure in one area of the sculpture. I also recorded some of them telling their dreams and each day of the residency, I would add their voices to an mp3 player attached to headphones. In the three week residency I saw 16 classes of art students. The installation had three separate video projections with one stereo sound 29:00 Minutes. There are 600 individual “bricks” in the exhibition. The two visual threads in the videos are clouds and roads.
Between Two Rivers I
Felicia Glidden steel, handmade paper, single channel video projection, stereo sound, 34 min, looped, dimensions variable 2012
Solo exhibition at Hillyer Art Space in Washington DC. The visual thread through this work is an video taken from an airplane above the clouds over Switzerland. The dreams included in the sound score are all recorded in my 2012 journal. The shadow drawings on the wall were an integral part of the installation. On the floor lies a 2 meter (6 ft) square handmade sheet of paper on which sits a chaotically stacked pile of “bricks” (paper and steel) There are 350 individual “bricks” (19 x 8 x 9 cm) (7.5 x 3.35 x 3.5 in.) in the exhibition.
Felicia Glidden steel, handmade paper, single channel video projection, stereo sound, 34 min, looped, dimensions variable 2012Felicia Glidden steel, handmade paper, single channel video projection, stereo sound, 34 min, looped, dimensions variable 2012
Felicia Glidden Set design and build for solo dance improvisation by Sharon Mansur. Steel, fiberglass resin, cast rubber, cotton string, electrical cords, light bulbs 2010
This set design and build project for dancer Sharon Mansur included a kinetic hanging sculpture made of steel and rubber, small fiberglass containers based on the work of Eva Hesse, and hanging steel screens for refracting the light.
Felicia Glidden
Scenic Design / Build
Sharon Mansur
Choreographer / Dancer
Andrew Dorman
Lighting Design
Tzveta Kassabova
Costume Design / Build
Bruce Carter
Sound
Boris Willis
Video
“Solo embodying literal and metaphorical ideas concerning darkness and light, and the concept of wabi-sabi, inspired also, in part, by the work of visual artists Eva Hesse and Ana Mendieta. ” S. Mansur
Performed at Movement Research at Judson Church, New York City in November 2011, full premiere at University of Maryland, February 2011; and also performed at the RADFest Alternative Dance Festival, Michigan, March 2011.
Dance Magazine:
…with Sharon Mansur, whose cimmerian light meditated quietly on the Japanese concept of wabi-sabi—finding beauty in the imperfect, incomplete, and impermanent. The set, by Felicia Glidden, was exquisite, with its hanging sculptures of wires and paper, lit by the soft glow of lanterns. While the movement was peaceful and pleasing to watch, it hit the same note the whole way through, rarely changing pacing, tone, or depth.” Emily Macel Theys – 2011
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