Particles-Alicia Lomne: Umbra Nix
Umbra Nix: Pate de Verre Glass, 7 1/4" x 7 1/4" x 8 1/2"
Much of Alicia Lomné's work is influenced by the natural world. Lomné uses a process of researching images, information, and living specimens in nature to inform her work. She uses her work to magnify small elements of nature's design or to create representational forms. Lomné's work seeks not to replicate nature but simply to serve as a reminder. In her own words, "The idea is to stop, even for just one moment, to reflect upon and realize the immense complexity, diversity, polarity, and beauty of the world in which we live." Alicia Lomné is a second-generation glass artist, raised by glass artist KéKé Cribbs. Alicia has always had a love of casting glass but did not become committed to the idea of being a working artist until she discovered the process of pate de verre. She has been working with the method of pate de verre for the past twenty years. Alicia has been one of a few artists at the forefront of a pate de verre resurgence. She has been teaching pate de verre for fifteen years, traveling extensively throughout the United States teaching at Pilchuck Glass School, Penland School of Crafts, The Corning Museum of Glass, Haystack Mountain School of Crafts, Glass resource centers across the united states as well as teaching internationally in Denmark, Switzerland, England, Germany, and Australia.
For many years my work was mainly driven by the exploration of process. Historically pate de verre has had moments of flourishing and then dying out almost completely due to the secrecy held around this technique; therefore, it was difficult to come by information easily when I first began this journey. Taking what I had previously learned about lost wax casting and the single class in pate de verre casting techniques, plus much trial and error, I created my own approach to pate de verre.
I have always used my work to explore technique but it has also held themes of personal emotion, theories of being, and reflections of the natural world. The process of pate de verre brings a stillness, a quiet concentration, a demand for presence, that I find soothing and meditative in our fast-paced society. Over the years my work has turned further from the pursuit of perfection toward the inspiration of nature. I find that the emotions I have always tried to express and my love of the natural world have become inextricably bound to each other.
The process I employ involves observation first, collecting images, sometimes collecting samples and then researching these items. Sometimes the influence is immediate, other times it takes a year or two for these ideas or images to find their way into my work. I do not usually seek to replicate objects exactly, nature is always the better artist, the intent is to create an abstract reflection which reminds one of the original. “The idea is to stop, even for just a moment, to reflect upon and realize the immense complexity, diversity, polarity, and beauty of the world in which we live."
There are many different things that have inspired me over the years, moths, nudibranchs, fungi of all kinds, creatures of the sea and forest. Throughout I have always taken note of objects or “deposits” that are markers of time. Rust, the strata of the earth’s crust, ice cores which can show us the weather over a hundred years ago, layers of paint in a house, the soul of a favorite shoe, the alluvial sediment which shows between the seams of the highway barricades. Currently I am focused on these, “Alluvial Pathways”; the layers upon layers marking our days, our movements, the weather, and flow of water. The patina of time is the inadvertent storyteller of our present, past, and future.
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