Paintings inspired by digitally manipulating photographs taken on hikes in the western US. These studies are translated into paintings utilizing layers of encaustic or acrylic paint and collage.
ABOUT THE ART
Lorraine Glessner's love of surface, pattern, markmaking, image and landscape has led her to combine disparate materials and processes such as silk, wood, wax, pyrography, rust, paper and more in her work. Lorraine is a former Assistant Professor at Tyler School of Art, Temple University, a workshop instructor and an award-winning artist. She holds an MFA from Tyler School of Art, Temple University, a BS from Philadelphia University, and an AAS in Computer Graphics from Moore College of Art & Design. She has a diverse art background with skills that include painting, sculpture, graphic design, interior design, textile design, photography, digital imaging and much more. Among her most recent professional achievements is a Second Place award in Sculpture from Art of the State at the State Museum in Harrisburg, PA, a recently completed artist residency at Jentel Foundation and an acquisition by Kelsey-Seybold Cancer Center in Houston, Texas. Lorraine's work is included in the recently released Encaustic Art in the 21st Century by Ashley Rooney and Nuance, a curated book by artist, Michelle Stuart. Lorraine frequently lectures and participates on academic panels at various Conferences including The International Encaustic Conference, SECAC and The College Art Association Annual Conference. Her work is exhibited locally and nationally in galleries, museums, craft centers, schools, libraries, universities, and more. Like her work, Lorraine brings to her teaching a strong interdisciplinary approach, mixed with a balance of concept, process, history, experimentation, problem solving and discovery.I grew up in the seventies, when pattern and tactility existed everywhere from shag carpeting, funky needlepoint and macrame, to my mother's paisley dresses. When I was young, one of my first house chores was to rake the shag carpeting and I loved making patterns in it as I worked. I also loved to run my hands along the flocked wallpaper as I walked down the hallway to my room. From the very start of my creative life, pattern, tactility, mark making and process have played a part and continue in my work today. Encaustic is my primary medium because it?s smell, luminosity and tactile qualities are unmatched by any other medium. Before painting, I burn intricate grid patterns into wooden panels using heated metal objects and pyrography tools. The grid references landscape and mapping as well as the healing qualities of fire. Once these marks are covered with paint, only hints of them remain, affecting the surface ever slightly like fading scars. Layer upon layer of paint is added, portions are scraped away, incised and then more paint is reapplied. The process of adding and stripping away is repeated until a suitable composition is achieved. Collaged fragments of found images are then added and act as another form of paint as well as trigger memory and create personal connections for the viewer. As the painted and collaged layers accumulate, patterns fuse, splinter and regenerate, acting as a metaphor for the volatility and vulnerability found in the relationships between earth and humankind and between humans themselves.