I was awarded a solo exhibition at the Sheetz Gallery of the Misciagna Family Center for Performing Arts at Penn State, Altoona. The exhibition is free and open to the public and will run January 15 - March 15. A reception will be held 3-5 p.m. January 15 in the Titelman Study of the Center. The pieces in the exhibition utilize disparate forms of metalworking in order to create metaphors for intra- and inter-personal relationships. The exhibition consists of a mixture of small sculptural pedestal pieces, wearable objects and framed drawings executed in vitreous enamels. These pieces address a variety of relationships including those of the contemporary constructed body to industry, the alchemy of interpersonal relationships and those of the individual to one’s core beliefs. They represent a collection of metaphors in metal.

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Comment by Ana M. Lopez on February 22, 2015 at 9:15pm

Here is the longer version of the artist's statement Stacy Haviland. Perhaps it will shed some light.

The Sculptural Work

I am attracted to the idea of metal as skin and the relationship of the physicality of the piece to the corporeality of the maker.  If our physical selves influence the objects we produce, what sort of objects does an altered body create; a body that takes prescription drugs, wears glasses, interacts with others through machines?  Metalsmithing has a history in both Art Craft and Industrial Craft, the second being frequently overlooked.  I incorporate objects from industry, both to contrast with the more sensual forms, and to create new hybrids: a physical fiction.  Their success lies in a familiarity that is still unnamable.  In the space where two disparate things meet, a third meaning is created.  

The Wearable Objects

These present the next logical evolution of the sculptural forms.  The biomorphic forms with which hardware had been interacting are removed.  Instead, industry is brought into contact with the first or second skin of a human wearer.  The surrogate animal and plant references are eliminated in favor of a more direct connection with a living organism.  This integration with humanity provides an amusing illustration from without of what is happening within the constructed contemporary body. Beginning with vents and funnels these grew to include plumb bob forms - used to find the “true” lines within our inner compasses.

The Enamel Drawings

These enameled wall pieces are laregly executed with reference to John French’s famous alchemical treatise on distillation. The sgrafitto (scratched through) element is a direct copy of an illustration from that work, while the overglaze enameled additions subvert the original meaning of the illustrations by editorializing in their contributions. 

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Masthead Credits

Chanda Zea

Object Series 1, 2, 3

Porcelain, slipcast and altered with terra sigillata, rubber.
8” x 8” x 8”, 12” x 8” x 8”, 8” x 8” x 10
2013

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