Michael Glancy at work at Polich-Tallix Foundry, Rock Tavern, New York. photo: chris roqué
GLASS: What are you working on?
Michael Glancy: Right now I’m weeding and composting my gardens, looking forward to warmer weather and more sun. The opening date of May 5th, 2011 had loomed large in my mind for all of the past five years. “Plenty of time,” I kept thinking… “plenty of time.” And yet, there is one, or perhaps two or three, more objects that I still need for the show. Then, at some point, I realized there just is not enough time. A difficult realization … for me.
Thankfully, on the opening evening, the show looked great. The book is fabulous and it was terrific fun for me. Now, back in my empty studio (Neal Young’s A Man Needs a Maid plays quietly in the background), I know exactly how to attempt to recapture the positive creative energy of those hectic but creative last few months. My first project after I clean up and reorganize my studio (I’ll let you know how that goes) will be to complete the cast-glass footed base plate for my newest object – as of this writing titled: (untitled) SS object.
Michael Glancy, Universe, 2010. Cast bronze object with stainless steel core, solid cast footed glass base plate, and copper. H 12, W 20 1/2, D 20 1/2 in.
This object is the companion piece for the work called Universe being exhibited in the Barry Friedman show. I frequently execute objects related to one another (think: father-son, brother-sister, day-night). And, although (untitled) SS object was in New York City for the opening, it would not be in the show. While its companion piece, Universe was in the main gallery under the lights, this beautiful all-mirror polished stainless steel object brilliantly stood… unfinished, nameless, in the back room … alone (not a happy camper). I’ve executed the massive (for me) solid cast footed base plate — this being the second attempt … glass being glass (Don’t ask). Much effort will be required to “skin” the surfaces (think grind and polish), but I have a good idea as to how I will carve this important object — it’s important because this base will become (untitled) SS object’s home, it’s landscape, it’s place — and, ultimately, it will find its name. Very satisfying, I’m looking forward to the journey.
GLASS: What have you seen recently that inspired you?
Michael: Last year, at The Museum of Modern Art, I sought out the exhibition “Lee Bontecou:All Freedom in Every Sense.”
Bontecou writes:
Since my early years, till now, the natural world, with all of its visual wonders and horrors, man-made devices, with its mind boggling engineering feats and destructive abominations, the elusive human nature and its multi ramifications of the sublime to unbelievable abhorrence, to me all are one. It is in the spirit of those feelings that the primary influences on my work have occurred.
Along with these feelings, walking through the Metropolitan, I would always end up looking at the Greek vases with the wonderful drawings and shapes: and then would wander with awe through the African halls. At the Museum of Natural History, the fossils, bones and panoramas, were and still are unbelievably exciting. At the Modern just to see a single Brancusi sculpture was enough. It is in that spirit those secondary feelings intermingled with the primary emotions that are the basis of my work.”
Michael Glancy, Indigo Inner Jazz, 2011. Cast glass object, copper, and silver. H 14 1/2, W 9 1/2, D 8 in.
GLASS: Do you have any exhibitions coming up that you can talk about?
Michael: The largest (and most ambitious) exhibition of my career (my first show in New York was in 1980) has just opened at Barry Friedman, ltd. on 26th Street in Chelsea. This presentation- titled “Infinite Obsessions” – of over 35 objects covers the past five years of my efforts, and, accompanying the exhibition is a big elegantly produced publication spanning the past 15 years of my work. (I’m exhausted just thinking about it).