Bio |
Sarinda Jones, a kiln-formed glass artist, with a background in fine art and art history. She studied at the internationally renowned Pilchuck Glass School, as well as North Lands Creative Glass in Scotland. An award-winning artist, she was a Niche Finalist in 2010. Sarinda shows her work internationally and has been commissioned to create a variety of glass sculpture pieces for private and commercial patrons. She had been a board member of the Salt Lake Arts Council for Public Art from 2009-20016. Sarinda taught at Corning Museum of Glass in Corning, NY in Feb. 2014 and as recently June 2017.
" A minimalist approach gives my work a contemporary feel and illuminates the simple beauty. Glass is a smooth, seductive and mysterious substance yet at the same time, a very ordinary substance. It can be as common as a wine glass or it can be a treasured work of art. It's part of our world culture. Glassmaking has been estimated to have been around for over 5,000 years. The same piece of glass can appear to be invisible at one moment and opaque another through its display of reflection. Glass is a chameleon of sorts, an illusionist. Right down to the chemical structure of the glass. As a glass artist, the alchemist of the molecular structure of glass instructs the glass to behave in a certain manner. This is where the playground of an artist and science comes together." |
Artist Statement |
Artist Statement:
My practice is an exploration of liminal spaces. I investigate the territory between art and craft, image and idea, rules and anarchy, and science and intuition. Craft is highly codified. This is particularly the case with glass—if you don’t follow the rules of physics, the whole work will be lost—yet it is also the playground where rules can be bent and boundaries can be pushed. Science is also that way—in the physics of glass, as well as in genetics, biology, chemistry—all science. Science is a codified, regulated world where intuition happens within the structure of the discipline and rules are broken and boundaries are challenged. My work is about abstraction. It is a literal abstraction that has a point of departure, often abstract itself, that I encode, then find a way to translate into pure form and pure material and pure color. I might visually describe the feeling of being in a hospital. First, I identify the visual and emotional code of the place: it is antiseptic, it is green, it is too cold, it is a place of fear, pain, healing, it smells of heavy metals and cleaners, it is bright, solarized, washed-out. I then translate that code into a code of form and color within the parameters of the physics of glass, exploring historical painting issues of texture, color, flatness, depth, image, abstraction. Generally, my point of departure is personal. I have discovered that physicians use color-coded posters, based systematically on the DNA of their patients, to have an understandable, decodable, recognizable sign, distinguishable at a glance from other patients’ DNA. I have reproduced those color-coded symbols of DNA as portraits made of colored glass. Like that work, all my work is based in translation, though sometimes less literally. For instance, I also encode and translate personal experience. I’ve done that for the death of my mother and the illness of my son, for instance. My work draws on personal experience then explores the symbolic language of those experiences and superimposes that language on systems based in logic, science, and process to produce abstractions that communicate something universal about the personal through translation. Sarinda continues to work in Salt Lake City, Utah with a number of private and public collections throughout the world and encourages studio visits by appointment. Commissions are welcomed. Gallery Representation: Sarinda's Studio, Salt Lake City, Utah. A Gallery, Salt Lake City, Utah. Nummer40 Modern Art & Design, 2e Loolaan 40, 7009 AT Doetinchem.. |