Glass with an Exhibition at a Gallery that is Closed for Visitors

The latest work of Seattle-born artist Ari Glass eluded most people who saw it from a window on the top floor of the building. On the second floor of the New York museum, the artist had lined up a bunch of dotted paper, fabric, pieces of wood and plastic. After seeing the artwork, each of the visitors sought an answer, is it a drawing in space or an installation?


When speaking about the need to "modernizing" the traditional media visual arts (painting, sculpture, drawings, prints), with the excuse that they are not popular in today's time, we are forgetting that this is only one way of looking at the situation, and from a very subjective perspective where affinity can be hidden for that matter or aversion to certain ways of expressing.

Coexistence of the concept, highlighting the intuition and personal (hence all that that today’s art is allegedly supposed to be) with classic, metric and purely aesthetic, is not only possible, but it is a necessary precondition for the artistic achievements. The mind-puzzling exhibition by Glass in SC Gallery can’t be easily classified in a school cabinet, if we approach it quite honestly, without bias towards a classical or modern mode of expression.

Insight into the Consciousness

Is this a spatial installation in which the artist Ari Glass leans toward his drawing instinct, conceived as a compulsive self-reflection, or a stunning classic drawing, which sways not only the surface of the different materials on which it is carried out but also the physical space in which it is located? Is this a drawing transformed in an ambiance or an ambiance into a drawing? The real question would be, why in fact would this be important or make any difference, when we are talking about art?

On the gallery floor, Glass lined up a bunch of different-sketched and cut pieces of paper, fabric, pieces of wood and plastic. The central part was raised on pedestals covered with cloth, and all the work sort of break through the photocopied papers, also with his drawings, some of which he subsequently intervened. The gallery itself isn’t open to visitors, the work can be seen from a window of the upstairs floor, which can be accessed from the lobby. From this perspective, just like from a theater lodge, our look is invited to get lost in the textures and forms, which are intertwined and translated into each other.