Anna Boothe trained as a sculptor at the Rhode Island School of Design and has worked with glass since 1980. She holds a MFA from the Tyler School of Art, where she was a member of the Glass Program faculty for a total of 16 years. From 2003-2007, she coordinated and helped to institute the Glass Art Degree Program at Salem Community College in southern New Jersey, a program whose curriculum focused studies on kiln-forming, kiln-casting, and flameworking. She also chaired the annual International Flameworking Conference held at the school.
She lectures and teaches workshops on frit and pate de verre casting regularly at numerous facilities, a few that have included the Studio of the Corning Museum of Glass, Pilchuck Glass School, Urban Glass in Brooklyn, NY, the Pittsburgh Glass Center, many university settings, and glass schools in Belgium, Switzerland, Turkey, and Japan.
Her kiln-cast figurative work is in the collection of the Corning Museum of Glass and in numerous private collections. In recent years, she has participated in the Particle Theories and Celebrating Connections exhibits at the Museum of American Glass in Millville, NJ, Figures and Forms at Leo Kaplan Modern in New York City, World Glass Today at the Aptos Cruz Gallery in Adelaide, Australia and the Bullseye Connection Gallery’s 20/20 exhibit in Portland, OR. In the past several years, she has lectured at the Rochester Institute of Technology, Virginia Commonwealth University, the University of Wisconsin in Madison, Illinois State University, Illinois-Wesleyan University, Sheridan College in Toronto, Canada and the Everhart Museum in Scranton, PA.
Anna served on the Glass Art Society’s Board of Directors from 1998-2006 and was President of the organization from 2004-2006.
That which deals with human visceral response, compassion, vulnerability, and the metaphors that can be woven from these elements, are the conceptual grist for the sculptural work I have made over the last several years. As individuals, what kinds of veneers do we create, and why? What are the messages we project? Where do the perspectives that drive our responses originate and how can we steer them? What tools do we use to interpret the projections of others? Basically, I am curious about the relationships between our internal reactions and external projections, and ultimately, how we communicate with each other on conscious and subconscious levels.
My work is an effort to reach an understanding of these inquiries. I set-out visual networks, or radii, that connect the various factors related to my investigations. The resulting pieces are meant to be icons, pseudo-mirrors, or even prosthetics, that aid in self-comprehension. The multi-part objects I create provide objectivity to issues or feelings that are often difficult to articulate.
Many of the current works employ body parts, such as hands, hearts and brains. The hands represent holding on, letting go and giving as themes that recur in our everyday emotional lives. Hearts and brains refer to the tandem, yet often polarized, sources from which our reactions come. I attempt to create new contexts for these common symbols in an effort to reaffirm them, metaphorically, as essential ingredients of a balanced stance from which to generate healthy interaction.
Glass, as a material, is appropriate for what I seek to express because it is capable of conveying the simultaneous strength and fragility, as well as the translucency, or degree of visibility, of these associations. I’m thirty years into my love affair with this elusive stuff and there is so much more to explore.
|Rick and Valerie Beck|
|Madeline Rile Smith|
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