Two PerspectivesJun 20, 2013 10:19AM ● By Suzanne Smith Arney
Both artists’ work will be on view in a dual exhibition at the Nebraska Arts Council’s Fred Simon Gallery this summer. NAC staff, who determine the exhibition schedule, found the work of both applicants compelling and promising interplay.
Broman has been blowing glass for about 15 years, following a spark lit when he was a child on vacation, “watching an old man crafting a glowing ball of molten glass.” That spark was reignited by an exhibition of Chihuly glass at Joslyn Art Museum. Finding a glass studio in the phone book, he went immediately to Crystal Forge (hotshopsartcenter.com/crystal) and knew with certainty that “that’s what I want to do.” For months he watched, took classes, and assisted. Owner Ed Fennell encouraged him. “He referred me to Hastings College,” says Broman. “He gave me hope.”Today, Broman is a full-time glassblower with a growing online business, Corey Broman Glass. In contrast to most studios, where a master works with a team of specialized assistants, he works solo, adapting and improvising his unique system of handling glass heated to 2,000°F. Molten glass is a thick, viscous material, constantly changing temperature and plasticity. This calls for a calculated choreography of gathering, blowing, rolling, and swinging a blob of hot glass on a 7- to 10-pound rod. He also does all his own cold work—the design and finishing of cooled glass—switching the emphasis from the physicality of sculpture to the precision of surface detail.
Lepo’s attention seems always to be on a small scale, but one can find infinity in her intimate landscapes. There is the expanse of a Southwest sky, opening over the canyon to our view just as surprisingly as it did to hers. Or sensing in the density of a spinning planet the cold vacuum of the surrounding void. “Drawing,” she says, “is a means of looking at something again for the first time.” And how better to really see than to map a landscape with tiny dots of ink, to define a tree branch or the trace of wind across sand by the proximity of one dot to another?
Lepo’s unconscious apprenticeship as a pen and ink artist began with her exposure to a variety of cultures during her childhood, her curiosity, her wondering. Later, as an engineering technology student, she understood the power of a drawing to convey information. “Looking again” is her impetus to move such utilitarian drawing to a deeper level of engagement. With the simplest of equipment—sketchbook, India ink, pens (the nibs rattling around in a small tea tin), water dish, pencils, an eraser—the self-described “nature-centric” artist can create a sketch whenever her wandering says “pay attention.”
Finishing, then inking the drawing in her studio, Lepo employs pointillist techniques to describe form, light, and movement in detail, using only black ink and the white of the paper. The tonal gradation she achieves via stippling, hatching and cross-hatching, and layering is extraordinary—a picture may take up to 100 hours to complete. Working in her spacious north-facing studio at Hot Shops, her attention articulates the relationship betweenherself and a particular moment and place (whether real or imaginary). Surrounding that focal point, the world expands in scale and scope: Wind and falcon’s cry become the voice of the North Rim, the persona of the Grand Canyon, the panorama of the Southwest. Lepo’s anchor is a tree silhouetted by sunset.
Broman’s studio is an efficiently organized cubicle in a busy industrial plant. In just a few steps, he can reach his three furnaces (furnace, for melting glass; glory hole, for reheating; annealer, for controlled cooling to room temperature), his workstation/bench, a cupboard of supplies, and wall of notes, sketches, and recipes. There’s also a sandblaster, which he can use to create surface effects of layered color or a frosted appearance. Glassblowing is a sequential process, and running three furnaces is expensive, so time in the studio is carefully planned.
Vista embodies several techniques. Three blown glass pieces are assembled in a custom-welded stand. The diamond wheel was used to make thousands of light-reflecting cuts in the stem, and to engrave the disc with its delicate scene. The graceful leaf was treated with an acid bath for a matte finish.
Like Lepo, Broman appreciates the outdoors. He finds peace in moments of stillness and challenge in the variability of light. Both artists use the language of art to express a unique response that, in turn, informs and enriches viewers and bids us to pay attention. Finding the affinities and distinctions between their work, we learn to see again for the first time.
Nancy Lepo, Drawings/Corey Broman, Glass will be on display at the Fred Simon Gallery, Nebraska Arts Council in the Burlington Building (1004 Farnam St.) from June 24 - July 26, 2013. For more information, visit nebraskaartscouncil.org.