Lorraine D Weglarz

Resume pg.2

 

 

 

Reviews/Previews:

Suffolk County News, Long Island, NY Sept. 4, 2008

Notes on the Need for Beauty, J. Ruth Gendler, Marlowe & Co. NY 2007 p.61.

Syracuse Post-Standard, New York July 24, 2005

San Francisco Bay Guardian, Critic’s Choice, Jan. 12, 2000

City Search Art Reviews-Editor Profiles January 11, 2000

ArtWeek  San Jose, Ca  July,1997 (Previews)

ArtWeek  San Jose, Ca  July 19, 1994

San Jose Mercury News, San Jose, Ca  June 17, 1994

The Register-Guard Eugene, Oregon April 8, 1994

Anchorage Daily News  Anchorage, Alaska  February, 1990

       The Courier  Grants Pass, Oregon  March, 1989

ArtWeek  San Jose, Ca   July 7, 1987

 

Residency Experience:

Fundacion Valparaiso, Mojacar, Spain  January, 2003

Ucross Foundation  Clearmont, Wyoming Aug-Sept. 1999;

  October,1985

Montalvo Center for the Arts, Saratoga, Ca

 Aug-Sept 1992; Oct-Dec. 1986 (with Fellowship)

 

Education:

San Francisco Art Institute, San Francisco, Ca   B.F.A., 1978

Wayne State University, Detroit, Michigan B.A., 1964     

 

Teaching Credentials:

California Community College Credential - Lifetime in Fine Arts &

Related Technologies Issued:  May,1987

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Lorraine D Weglarz

5625 State Farm Dr. #3: Studio

Ronhert Pk, Ca 94928

415-302-8696

 

 

 

 

Artist Statement

 

In 1998, after many years of working in painting and photography, I discovered that I had a natural affinity for installation art. Though my very first installation had a major photographic component, I soon found that medium too limiting for my ideas. I quickly found myself using a wide variety of materials and building environments on a larger and larger scale.

 

My working style would probably be considered unusual as I rarely make drawings. I usually “pre-visualize” an idea and allow it to incubate while I work in other mediums, usually painting.  When I consider my idea ready for three dimensions, I build a prototype in my studio.  Through this process I work out potential construction problems that may occur in a variety of venues.  At that point, I photograph the piece and begin my search for an appropriate site. I don’t believe there in an “ideal space”. The site made available to me dictates the final work and becomes site-specific in every detail.

 

As I review my body of work, I see recurrent themes in my installations.  I believe that any work of art at some point becomes a future archeological artifact that speaks to cultural values and beliefs of the society that created it.  I am also concerned with how art-making reflects the science and technology of its time; how it is used to define progress and its impact on future generations.  This has lead to my fascination with I call the “in-between state” where I allow myself to play with the law of physics and create works that appear to defy gravity, suspended in time and space. I consider my work a success when it disturbs, disorients and/or provokes thought on viewer’s part.