Combining a tree with a chandelier may seem an odd logic.
But my work always investigates dialectics: fragility and permanence, the real and the imagined, matter and energy, the natural and the artifactual. I work with all of those ideas in this new work. Through the tree and the chandelier I ask questions about how internal and external space meet or converge.
I imagine the space created by these forms as both outdoor and indoor, as at once a forest and a great hall. The forest is a wilderness, an untamed place outside of our normal living space. It's the space where the sages go to meditate; it allows for internal experience. Anyone going there might hope to gain some kind of private revelation.
The hall of chandeliers evokes grand, domestic, and exclusive space: perhaps a palace. In our time, most palaces have been transformed into public spaces. They have become places we go to understand something about larger questions of history or culture.
Both the forest and the palace's great hall address internal and external worlds; I attempt to construct a space that allows for both kinds of awareness.
- Jeanne Quinn, 2011
Glen R. Brown, "Overthrown Clay Without Limits," Ceramics: Art and Perception, no. 87, 2012, pg. 104-106.
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