Ann Veronica Janssens

Ann Veronica Janssens
March 6 – April 18, 2015
Magic Mirror (Blue), 2012 (left)
Dichroic polyester film, security glass, float glass
The iridescence is created by a dichroic polyester film between the sheets of glass. Dichroic filters allow light to pass selectively and limit its reflections to a particular small range of colors. 
 
Magic Mirrors (Green & Pink #2), 2015 (right)
Dichroic polyester film, security glass, float glass
The work consists of two parts, each of which is made of three layers of glass. Sandwiched between two intact panes, the central pane has been broken into thousands of sections. The pattern that is created thereby appears to originate from the center of its upper edge gives the work a sense of movement. 
 
Photo © Andrea Rossetti
Gaufrette (Pink Shadow), 2015 (left; through doorway)
Annealed glass, vertical and horizontal lines, PVC filter CL9
Each pane of glass of the work has been specially molded: the one facing the back with a pattern of narrow horizontal grooves, the one facing out with a pattern of narrow vertical grooves. This combination of linear pattern and slight iridescence creates changing reflections. 
 
Magic Mirror (Blue), 2012 (center)
Dichroic polyester film, security glass, float glass
The iridescence is created by a dichroic polyester film between the sheets of glass. Dichroic filters allow light to pass selectively and limit its reflections to a particular small range of colors. 
 
Magic Mirrors (Green & Pink #2), 2015 (right)
Dichroic polyester film, security glass, float glass
The work consists of two parts, each of which is made of three layers of glass. Sandwiched between two intact panes, the central pane has been broken into thousands of sections. The pattern that is created thereby appears to originate from the center of its upper edge gives the work a sense of movement. 
 
Photo © Andrea Rossetti
Magic Mirror (Blue), 2012 (left)
Dichroic polyester film, security glass, float glass
The iridescence is created by a dichroic polyester film between the sheets of glass. Dichroic filters allow light to pass selectively and limit its reflections to a particular small range of colors. 
 
Magic Mirrors (Green & Pink #2), 2015 (right)
Dichroic polyester film, security glass, float glass
The work consists of two parts, each of which is made of three layers of glass. Sandwiched between two intact panes, the central pane has been broken into thousands of sections. The pattern that is created thereby appears to originate from the center of its upper edge gives the work a sense of movement. 
 
Photo © Andrea Rossetti
Magic Mirrors (Green & Pink #2), 2015 (back)
Dichroic polyester film, security glass, float glass
The work consists of two parts, each of which is made of three layers of glass. Sandwiched between two intact panes, the central pane has been broken into thousands of sections. The pattern that is created thereby appears to originate from the center of its upper edge gives the work a sense of movement. 
 

Pink Bar, 2013 (front)

Glass bar

One of the long horizontal surfaces not having been polished, it acts as a filter, reflecting the light and seemingly trapping the light within. Small inclusions of bubbles have been allowed to remain and become more or less visible depending on the way the light hits the object.

 

Photo © Andrea Rossetti

21 Avril, 2014 (left)

Glass, engraved magnifying glass

It appears as if a convex lens were protruding from the surface. In fact, the shape has been etched into it from the other side. The surroundings are reflected by the rounded surface of the shape, even though the surface is in effect flat. 

 

Pink Bar, 2013 (front)

Glass bar

One of the long horizontal surfaces not having been polished, it acts as a filter, reflecting the light and seemingly trapping the light within. Small inclusions of bubbles have been allowed to remain and become more or less visible depending on the way the light hits the object.

 

Orange, 2010 (back)

Glass, paraffin oil, fluo serigraph, wooden pedestal

The cube glass container is about two thirds full with paraffin oil. Except for the very light greenish tint created by the thick glass, the liquid is colorless and transparent when viewed from the side. As one approaches the work or moves around it, the surface of the oil appears to be bright orange.

 

Cocktail Sculpture, 2008 (right)

Glass, destilled water, paraffin oil, wooden pedestal

The cube glass container is filled with two liquids, distilled water and paraffin oil. Because they have different densities, they refract light differently. As one moves around the work, sections of a rainbow-colored circle become visible.

 

Photo © Andrea Rossetti

21 Avril, 2014 (back)

Glass, engraved magnifying glass

It appears as if a convex lens were protruding from the surface. In fact, the shape has been etched into it from the other side. The surroundings are reflected by the rounded surface of the shape, even though the surface is in effect flat. 

 

Pink Bar, 2013 (front)

Glass bar

One of the long horizontal surfaces not having been polished, it acts as a filter, reflecting the light and seemingly trapping the light within. Small inclusions of bubbles have been allowed to remain and become more or less visible depending on the way the light hits the object.

 

Photo © Andrea Rossetti

21 Avril, 2014

Glass, engraved magnifying glass

It appears as if a convex lens were protruding from the surface. In fact, the shape has been etched into it from the other side. The surroundings are reflected by the rounded surface of the shape, even though the surface is in effect flat. 

 

Photo © Andrea Rossetti

Cocktail Sculpture, 2008

Glass, destilled water, paraffin oil, wooden pedestal

The cube glass container is filled with two liquids, distilled water and paraffin oil. Because they have different densities, they refract light differently. As one moves around the work, sections of a rainbow-colored circle become visible.

 

Photo © Andrea Rossetti

Cocktail Sculpture, 2008 (detail)

Glass, destilled water, paraffin oil, wooden pedestal

The cube glass container is filled with two liquids, distilled water and paraffin oil. Because they have different densities, they refract light differently. As one moves around the work, sections of a rainbow-colored circle become visible.

 

Photo © Andrea Rossetti

Orange, 2010

Glass, paraffin oil, fluo serigraph, wooden pedestal

The cube glass container is about two thirds full with paraffin oil. Except for the very light greenish tint created by the thick glass, the liquid is colorless and transparent when viewed from the side. As one approaches the work or moves around it, the surface of the oil appears to be bright orange.

 

Photo © Andrea Rossetti

Orange, 2010 (detail)

Glass, paraffin oil, fluo serigraph, wooden pedestal

The cube glass container is about two thirds full with paraffin oil. Except for the very light greenish tint created by the thick glass, the liquid is colorless and transparent when viewed from the side. As one approaches the work or moves around it, the surface of the oil appears to be bright orange.

 

Photo © Andrea Rossetti

Untitled (Blue Glitter), 2015 (front)
Polyester
The work consists of aqua glitter. A small pile of the material, custom made from ground PVC, is kicked up to produce an uneven area. The miniscule elements have an iridescent shimmer. 
 
Untitled, 2015 (center)
Glass bar
The work consists of a long rectangular bar made of dark blue-green glass that has been cast and then polished to a high gloss. As the light passes through the object, small inclusions of bubbles that have been allowed to remain become more or less visible. 
 
Gaufrette (Pink Shadow), 2015 (back)
Annealed glass, vertical and horizontal lines, PVC filter CL9
Each pane of glass of the work has been specially molded: the one facing the back with a pattern of narrow horizontal grooves, the one facing out with a pattern of narrow vertical grooves. This combination of linear pattern and slight iridescence creates changing reflections. 
 
Photo © Andrea Rossetti
Untitled, 2015
Glass bar
The work consists of a long rectangular bar made of dark blue-green glass that has been cast and then polished to a high gloss. As the light passes through the object, small inclusions of bubbles that have been allowed to remain become more or less visible. 
 
Photo © Andrea Rossetti
Untitled (Blue Glitter), 2015 (detail)
Polyester
The work consists of aqua glitter. A small pile of the material, custom made from ground PVC, is kicked up to produce an uneven area. The miniscule elements have an iridescent shimmer. 
 
Photo © Andrea Rossetti

Ann Veronica Janssens

Ann Veronica Janssens
March 6 – April 18, 2015
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Esther Schipper is pleased to present Ann Veronica Janssens’ fourth solo exhibition with the gallery. The exhibition will include new glass and mirror works, two works from her series of aquariums with brightly colored insets, and a glitter-based work.

 

Janssens’ work foregrounds the body’s perception of the world and itself in it. She often uses light, natural optical phenomena or glass as medium. Beautifully made, her works exude the impression of great simplicity yet create vivid experiences of the act of seeing, evoking a heightened awareness of the changeability and fleetingness of individual perceptions.

 

Her practice is characterized by its openness and changeability. Accordingly, the group of new sculptures draws on the optical effects of reflection and refraction to produce constantly changing impressions. As viewers move around the objects with suspended liquids, and as light passes through these small, contained spaces, unexpected views are reflected and their surfaces appear to become momentarily brightly colored.

 

Analogously, the large vertical iridescent mirror works exist in infinite facets. One, Magic Mirror, consists of three layers of glass. Sandwiched between two intact panes, the central pane has been broken into a myriad of pieces. It is securely preserved in its fragile state, but as light hits the surface, each cracked seam reflects it at different angles, creating variant shapes and colors.

  

Janssens has likened her work to “a plastic proposition... akin to a laboratory revealing its discoveries.” As a result, one might think of the artist as pioneering scientist from the Age of Enlightenment: deducing natural laws from her close observation of everyday phenomena. Yet Janssens’ works carry this inquisitiveness lightly. Their openness lets her approach appear an enchanted science. For the observer this may entail childlike wonder at the optical (or often physiological) effects created by the works. The unstableness and changeability questions the nature of what art is—a material articulation or the experience of its interaction with the world and oneself in it. 

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