3 Questions For … Mary Van Cline

Mary Van Cline in the studio with assistant John Barlow.

GLASS: What are you working on?
Mary Van Cline: Because I consider myself a photographic sculptor, I create black-and-white glass photographic images in my work. I am working to turn imagery into an installation with pâte de verre photographic life-like objects that expand the narrative story. In my third decade of working in these combined materials, the scale of my work has increased dramatically. In The Listening Point — Winter Ice Branches (1993-2008), I have created a room-sized installation of architectural proportions. The 6-foot-tall transparent glass photograph reflects into a large actual reflecting pool, which is created by black glass. It creates an architectural reference by the Japanese Shinto Gate that frames it, marking the portal to a timeless drama.  At a length of 8 feet, the  long pâte de verre ivory ice branches are nested and stacked upon one other in their own reflecting pool. In these installations, I’m hoping to create my own personal sense of theater and stage design. My imagery is contemplative, and the sense of story is intended to invite the viewer in as a participant.

Mary Van Cline, The Listening Point—Winter Ice Branches, 1993-2008. Photosensitive glass, black reflecting glass, ivory pâte de verre. H 6, W 10, D 17 ft. photo: rob vinnedge

GLASS: What artwork have you seen recently that inspired you?
Mary: An ongoing major influence on the development of my imagery, was my encounter with Japanese Noh theatre and Butoh dance. In 1987, I received an NEA cultural Exchange Award from the Japan-US Friendship Commission for a six-month stay in Japan. I spent that time photographing and traveling the entire archipelago of Japan’s four islands. “In Japanese Butoh dance, the emotion of angst is present through it’s almost motionless form. You can not tell the dancers are moving, but they are. The landscape is moving as fast as the figure… the tiniest bend of an elbow, dropping of a shoulder, tilting of a head, lowering of an eye can create an enormous amount of emotion. I work that into my photography… my theater.”

Photography has a memory-evoking power. It’s strength is in the life-like quality of the image. It’s drama is the narration of the story. It stops time and captures the timelessness where we can reflect. I sculpt the human figure into position in the photographic landscape, and create the beginning of the play.

GLASS: Where is it possible to see your work on exhibit?
Mary: I’m the sole artist working with glass invited to be part of the prestigious Renwick Craft Biennial for 2009. “Staged Stories” is currently on view through January 3, 2010 at the Renwick Gallery of the Smithsonian American Art Museum. A detailed interview was recently recorded for the oral history program at the National Archives of American Art, Smithsonian Institution. And I also have an exhibition at Habatat Virginia through December 31, 2009.