Through September 4, 2016, Leo Tecosky’s exhibition entitled "Flithy Precision" will be on view at the galleries of Glass Wheel Studio in Norfolk, Virginia. Tecosky's work, which freely mixes glassblowing and neon, as well as found and constructed elements, incorporates inspiration from across cultures. His approach is an outgrowth of his interest in travel and wider study. Tecosky holds a BA from Alfred University with a cocentration in fine art, and an MFA from The School of Visual Arts in Manhattan. He lives and works in Brooklyn, New York. The GLASS Quarterly Hot Sheet recently checked in with Tecosky about his latest work and exhibition.
GLASS Quarterly Hot Sheet: What are you working on?
Leo Tecosky: I’m working on a new body of sculptural glass work that combines graffiti-esque and stylized typography with decorative Islamic motifs and concepts of the Supreme Alphabet. I've been investigating hot plaster/silica blow molds and hot bubble sculpting to redefine the dynamic shapes of letters and other iconic graffiti forms like arrows. Both of these physical techniques are a new part of my making repertoire. The multi-step process of creating a plaster/silica waste blow mold is a very deliberate way of working.
The initial form starts with modeling a lump of clay; I can take my time with it to make sure the form is tight. I’ve been experimenting with 3=D printed tile molds to incorporate wax tiles to the wax positive before the sculpture is then cast in plaster. The result is a kind of new “artifact”. The hot-sculpted bubbles are more intuitive, with them I’ve been making blown glass arrows. I have an idea about the general shape I want when I begin, but then react to the molten material because its plasticity partially dictates the final shape. I’ve been working with these forms for a few months and getting some really interesting results. I’ll keep working with these two processes because I’m feeling a lot of potential for growth both in the objects and within my practice as a maker and glassblower.
Hot Sheet: What are you thinking about that's inspiring your work?
Leo: Ottoman and Andalusian art and architecture are what’s influencing the decorative elements of this work. The Arabesque geometric patterns represent networks and allude to the structure of the cosmos and its origins from a single point in space. I’m drawn to the idea that this type of mathematical function is also visual poetry; a metaphor for the creation of the universe but also of the microcosmic structure of all things. I’ve also been drawn to the philosophical approach to knowledge known as the Supreme Alphabet which is a system of attaching actual meaning to the letters of the Roman alphabet as a way of finding a deeper meaning of words.
Developed by the founder of The Nation of Gods and Earths, Clarence 13X, it's a kind of deconstruction of the banal in order to reconstruct a more symbolic, elevated meaning. Much of the allegory of the Supreme Alphabet is borrowed from Freemasonry and alchemy, as well as other teachings. By attaching esoteric symbolism to letters and words, the system encourages the pursuit of knowledge to allow a deeper understanding of things. I’m interested in breaking up words into their atomic elements, the letters, and assigning them unique characteristics both figuratively and visually.
Hot Sheet: Where can your work be seen?
Leo: This new work as well as some previous work is included in my latest solo show, ”Filthy Precision,” on view at Glass Wheel Studio in Norfolk, Virginia through Sept 4th. Alternatively the work can be seen via my website or Instagram at @anserglass.