HALF LIFE, Assembled Sand Cast Glass, 17 3/4 x 9 x 6"
COLLIDER, Assembled Sand Cast Glass and Steel, 36 x 19 x 12"
GRATIAE, Assembled Sand Cast Glass, 15 1/2 x 11 x 4"
VECTOR, Assembled Sand Cast Glass and Steel, 24 1/2 x 12 x 12"
GIBBOUS, Assembled Sand Cast Glass, 17 x 10 x 3 1/2"
KEY, Assembled Sand Cast Glass, 16 x 22 x 4 1/2"
CORE, Assembled Sand Cast Glass, 19 x 12 x 6"
CATENA, Assembled Sand Cast Glass, 24 x 15 x 4"
TOWER, Assembled Sand Cast Glass, 26 x 8 x 8"
For more than thirty years Jeremy Popelka has worked as a glass artist and educator. After exploring techniques with notable glass artists such as Dale Chihuly, Marvin Lipofsky, Bertil Vallien, and Joe Phillip Meyers, Popelka currently practices a sand casting method, where he achieves a high level of detail with organic and architectural forms. After a series of sketches and observations he laminates plywood together into a raw canvas of a form that can be cut up into puzzle pieces. These sections are then sanded and formed into pieces of wood and cast into glass in a sand mold. When preparing the sand he adds varying degrees of a defining texture that is applied in a gestural way to give the glass its ornamental surface.
Veiled Monuments is Jeremy Popelka's third exhibit at Tory Folliard Gallery. Popelka and his wife Stephanie Trenchard have work at the Bergstrom-Mahler museum's "Glass Artists of the New North" now though February 16th, 2014 and the Museum of Wisconsin Art recently acquired Popelka's impressive sculpture "Edge" for their permanent collection.
The work in "Veiled Monuments" is inspired from an arcane view of one’s surroundings, where objects and their inherent meanings are obscured by the context, and time period, in which they subsist. Inspiration comes from an expanding knowledge of the natural world, from the Universe at large to the sub-atomic level. In a way that is what creating these objects alludes to; trying to make ubiquitous forms that reveal both the artist and the tethered soul that belongs to the communal thread of existence. Monuments that may represent a generation, or an individual for that matter, may not be found on a mountain top but on the tip of one’s finger.