GLASS

MenuPage2013_600pix_Ahni_Rocheleau_02_The_Invisible_110Res

 

The Invisible

cast glass

dimensions variable


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MenuPage2013_600pix_Ahni_Rocheleau_01_The_Invisible-detail_2_110Res

 
 
The Invisible, detail

cast glass

dimensions variable


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MenuPage2013_600pix_Ahni_Rocheleau_03_The_Invisible-detail_1_110Res


 
 
The Invisible, detail

cast glass

dimensions variable


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MenuPage2013_600pix_Ahni_Rocheleau_04_Lassitude_of_the_Finite_I_110Res


 
 
Lassitude of the Finite I

black glass, water, phosphorescent paint

H. 7"  W. 17"  D. 17"

In actual viewing of this water work, not apparent in the photo: the black glass objects in the bath nearly disappear, and the white phosphorescent paint under water creates illusions and repetitions of shapes that would not match our experience if you were to try to reach in to touch some of these objects.

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MenuPage2013_600pix_Ahni_Rocheleau_05_Lassitude_of_the_Finite_II_110Res

 

Lassitude of the Finite II

black glass, clear glass, wood

H. 30"  W. 30"  D. 86"

Again, the photograph deceives. In actual viewing, the two boards have a stronger reflection in the clear glass, making it questionable as to whether they exist or not.

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MenuPage2013_600pix_Ahni_Rocheleau_06_Lassitude_of_the_Finite_III-front_view_110Res

 

Lassitude of the Finite III, frontview

black glass, galvanized tubing

H. apx. 48"

Again, the photograph deceives. In actual viewing, the two galvanized tubes have a stronger reflection in the black glass, making it questionable as to whether they exist or not.

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MenuPage2013_600pix_Ahni_Rocheleau_07_Lassitude_of_the_Finite_III-back_view_110Res


 
 
Lassitude of the Finite III, sideview

black glass, galvanized tubing

H. apx. 48"


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MenuPage2013_600pix_Ahni_Rocheleau_08_Lassitude_of_the_Finite_IV_110Res


 
 
Lassitude of the Finite IV

black glass, rusting iron water pipe

H. apx. 40"

Again, the photograph deceives. In actual viewing, the rusty white pipe has a stronger reflection in the black glass, making it questionable as to whether it passes through the glass or not.

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MenuPage2013_600pix_Ahni_Rocheleau_09_Lassitude_of_the_Finite_V_2_110Res

 
 
Lassitude of the Finite V

black glass, cinder block, pipe, glass

H. apx. 24"


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MenuPage2013_600pix_Ahni_Rocheleau_10_At _the_Core)_110Res


 
 
At the Core

black glass, sandblasting, red-hot nichrome wire, pyrex rod, infinite control switch

H. 33"  W. 30"  D. 30"


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MenuPage2013_600pix_Ahni_Rocheleau_11_Slides_At_the_Core_110Res


 
 
At the Core, detail

black glass, sandblasting, red-hot nichrome wire, pyrex rod, infinite control switch


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MenuPage2013_600pix_Ahni_Rocheleau_12_Slides_Primordial_Underived-with_green_reflection110Res


 
 
Primordial/Underived I

cast glass, liquids, neon, lead

H. 5"  L. 48"   W. 6"


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MenuPage2013_600pix_Ahni_Rocheleau_13_Slides_Primordial_Underived-close-up_of_trough_110Res

 

Primordial/Underived I,

closeup of trough, cast glass, liquids, neon, lead


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MenuPage2013_600pix_Ahni_Rocheleau_14_Slides_Primordial_Underived-night-view_110Res

 

Primordial/Underived I,

without ambient light, cast glass, liquids, neon, lead


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MenuPage2013_600pix_Ahni_Rocheleau_15_Slides_Primordial_Underived-II_110Res


 
 
Primordial/Underived II

cast glass, liquids, neon, lead, salt, steel, nichrome wire

H. 9"  L. 96"  W. 48"


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MenuPage2013_600pix_Ahni_Rocheleau_16_Transmission_110Res

 

Transmission

cast glass, metal

H. 10"  W. 10"  D. 1"

Notice in the fine detail of the glass, the pattern of a gear train, part of an automotive transmission.

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MenuPage2013_600pix_Ahni_Rocheleau_17_Slides_Techno_Virus_110Res

 

Techno-Virus

stainless steel, cast glass, fourescent bulbs, nichrome wire embedded-into-cast glass, light ballast, flourescent light starters

H. 54"  W. 28"  D. 4"


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MenuPage2013_600pix_Ahni_Rocheleau_18_Glass_Lined_Box_110Res

 
 
 
Glass-lined Box

cast glass, wood

H. 10"  W. 10"  D. 2"


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MenuPage2013_600pix_Ahni_Rocheleau_19_Slides_Spinal_Tap_110Res

 

Cultural Spinal Tap; Anesthetic Injection

cast glass, copper wire, flourescent light, ballast, starter, salt

H. 81"  W. 8"  D. 3"

Text about the above art work goes here.

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MenuPage2013_600pix_Ahni_Rocheleau_20_Orbic Energy-110_Res


 
 
Orbic Energy

cast glass, steel

H. 14"  Diam. 88"

Cast glass orbs available individually


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MenuPage2013_600pix_Ahni_Rocheleau_21_Infinite_Fragment_110Res

 

Infinite Fragment II

cast cobalt glass

H. 5"  W. 8"  D. .75"


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MenuPage2013_600pix_Ahni_Rocheleau_22_Infinite_Fragment--110res+resize_110Res


 
 
Infinite Fragment I

cast cobalt glass

H. 11"  W. 9"  D. 1"


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MenuPage2013_600pix_Ahni_Rocheleau_23_Slides_Prayer_Niche-front_110Res

 

Islamic Prayer Niche, 1989 (Frontside)

mold-cast glass, India ink

H. 28"  W. 20"  D. 4"

Islamic Prayer Niche, 1989 (Frontside)

The simplified and primitively rendered cast glass form inspired by finely carved Islamic prayer niches, an architectural feature of mosques. On the front side of the translucent body, the glass reveals the serpentine aspect of an arabesque-like pattern. In my search in the late 1980’s poring through Western architectural texts for the meaning of this repetitive patterning, most references I encountered described these designs as “mere decoration.” What I perceived as ethnocentric simplification frustrated me. I reached the disquieting observation that scholarly interpretation can be culturally dismissive. Eventually, I found that “Arabesques essentially recreate through nature the cosmic processes of the Creator.” They reflect the rhythms, periodic cycles, colors and Zen-like spatial intervals between the motifs.

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MenuPage2013_600pix_Ahni_Rocheleau_24_Slides_Prayer_Niche-backside2_110Res


 
 
Islamic Prayer Niche, 1989 (Backside)

mold-cast glass, India ink

H. 28"  W. 20"  D. 4"

Islamic Prayer Niche, 1989 (Backside)

According to writer Edward Said, referring specifically to Disraeli’s perspective, romantic idealization often serves to emphasize difference between peoples. Disraeli’s snapshot, though genteel, epitomizes the West’s surface gaze, which as a pattern of observation over time has lead to a collective inability to understand non-European cultures in any depth. Former novelist and British Prime Minister Benjamin Disraeli’s still influential words of visual appreciation written while traveling in Constantinople (now Istanbul) in 1830, betray a voyeuristic and materialistic point of view on the subject of color as he delights in Ottoman culture through an exotic lens. Through this work, our fragile cultural memory is challenged to make connections between fragmented bits of history.

In contrast, the statement below Disraeli’s establishes an interpretation of color from Islamic tradition and acts as a sign of Westerners disinterest in accepting, in learning about, or in seeing other cultures as they see themselves.

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MenuPage2013_600pix_Ahni_Rocheleau_25_Measuring_Infinity_II_110Res

 

Measuring the Invisible II

glass,cellopahne, tape measure

H. 14"  W. 12"  D. 8"


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MenuPage2013_600pix_Ahni_Rocheleau_27_SAMPLE_UKI_A_110_Res2


 
 
Sample Uki A

glass, masking sheet

H. 31"  W. 7.5"  D. .25"


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MenuPage2013_600pix_Ahni_Rocheleau_28_Birthing_body_110Res

 

Birthing Body

fused glass, cast glass base

H. 15.5"  W. 9"  D. 3" with base


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MenuPage2014_600PixAhni_Rocheleau_30_Rapid Rupture-110Res copy

 
 
 
 
 
Rapid Rupture

fused glass, cast glass base

H. 10"  W. 7.5" D. 2.25"

My first personal “peace memorial,” an homage to Hiroshima and Nagasaki, “Rapid Rupture” was created’ in the mid 1980’s. J. Robert Oppenheimer was given the title "Coordinator of Rapid Rupture,"specifically referring to the propagation of a fast neutron chain reaction in an atomic bomb.

This work was in part a direct cathartic outgrowth of the neo-expressionist movement in particular because I was at that time studying with Bay Area artist Oliver Jackson, an important practitioner of that style.

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MenuPage2013_600pix_Ahni_Rocheleau_29_At_the_Core-study_110Res

 

At the Core (study)

glass, nichrome wire, salt, steel

H. 60"  W. 8"  D. 2.5"


 


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