Opening reception May 11th from 6-8 PM.
When we invite others into our homes there is a connection built between the person, the building and ourselves. Our homes occupy a personal aspect of our lives, one we can open up and invite another person into. Wearing a pair of shoes from the rough, dirty landscape of the outside into the home acts as a barrier of intimacy between the guest and the host. There is an inherent connection we share to our surroundings that emanates through the grounding of our feet. The shoe disconnects our feet to the textures within the home. We are denied the connection and comfort felt while embracing the strands of carpet between our toes. Once the shoe is removed the barrier is lifted and intimacy can flow from our feet through the floor.
This installation is a combination of Brianna’s own visual language and sculptural world. One which parallels feelings of intimacy and intentionally blurs the ideals of gender. In this space, glass isn’t automatically perceived as masculine and carpet as femme, instead they are free to perform gender at will. The comfort felt in the relationship between colour, glass forms and carpet is all encompassing. The physicality of colour both grounds and absorbs our eyes. The connectivity of these objects is inherent as they converse in their own language. While finding kinship in their unique atmosphere they encourage you to share this sensation of comfort.
Brianna Gluszak received a bachelor’s in fine art with distinction in glass from The Alberta University for the Arts (formerly The Alberta College of Art and Design) in 2016. She is currently a master’s in fine art candidate and graduate teaching associate at The Ohio State University. Gluszak has studied and worked at Pilchuck Glass School, The Corning Museum of Glass, The Museum of Glass in Tacoma and StarWorks Center for Creative Enterprise. She has travelled internationally to participate in residencies at The Royal Danish Academy of Architecture, Design and Conservation in Nexø, Denmark, Northland’s Creative Glass in Lybster, Scotland, and Harbourfront Centre in Toronto, Canada.
Her work utilizes various playful motifs, gendered forms, materials and captivating colour schemes. She often exploits the hard-edged masculine architecture and the phallus form to transform the assumed gender of an object or space through the transition and translation of colour. Blurring the distinctions created between the ideals of feminine or masculine through glass making, textiles and installation.