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Bullseye Projects, Portland, Oregon
by Richard Speer

Matthew Szösz, "untitled(inflatable)no.66w," 2013, fused and inflated glass, 7 3/4 x 17 3/4 x 10" (installed)

Continuing through October 3, 2015

Bullseye Projects has been taking on some big themes lately: decay, regeneration, urban blight, and now, in the three-person exhibition “Origins,” the ways in which ideas are formed. Specifically, the show zooms in on how new techniques are developed for kilnformed glass. Most startlingly, Matt Szösz’s bizarrely beautiful objects owe their pillow-like contours to a process that essentially blends kilnforming and glass-blowing. As soon as the artist removes his forms from the kiln, while they’re still hot and soft, he uses an air gun to pump them into billowy shapes. One of the resulting pieces, “untitled(inflatable)no.66w,” looks like an orgy of blowfish, flash-frozen in flagrante delicti

Washington State-based Anna Mlasowsky uses 3-D printers to create her pâte-de-verre sculptures, which variously resemble strange, composite viscera (“The Wheel”), overgrown mold spores (“Rotunda”), a bridge made of dog bones (“The Bridge”) and a kaleidoscope awash in hues of lime-sherbet punch (“The Tower”). Finally, Portland-based Abi Spring layers organic gestures atop sandwiched glass panels in a fashion recalling her widely known work in painting. As in her paintings, the glass pieces exude serene, grayscale tones. A notable exception is “Dusk,” a sumptuous abstracted landscape in lavender and powdery blue.

Bullseye Projects

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