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  Howard Ben Tré

  Howard Ben Tré and Richard Goulis

  Howard Ben Tré’s sculpture, and especially, as we shall see, his public works, are permeated by idealism. Even when his sculptures are intended for more private viewing, they draw on forms that are at once simple and universal. Ben Tré recounts that he began to cast glass when he looked at the molten liquid and realized that it was in essence very similar to molten bronze. In casting it, he lets it do what comes naturally to it. For similar reasons, he doesn’t artificially color his glass, preferring the watery green color that is natural to it, though he sometimes tints the glass by adding metal oxides. And although Ben Tré is often identified as a sculptor who works with glass, he has explored a number of other materials, which he treats with equal respect. Metal appears as cladding, adding a thin skin over areas of the sculptures. Or it may be an insert into a glass form. Sometimes it is a counterelement, providing a sharp geometry to the softer curve of a glass form, an exterior frame, or an accent or band whose opacity accentuates the luminosity of the glass. Rubbing inner cavities with metal oxide, Ben Tré creates mysterious inner shadows. But there is never any trickery involved. Ben Tré continues to combine his work in the public realm with the creation of individual sculptures. These two modes play off each other, sparking new ideas and new forms. In the end, it is clear that they emanate from the same source—a sense of our common humanity and a desire to use art to bring people together. Ben Tré’s public and private commissions and projects return us to the realm where utopian visions and social ideals don’t seem so foolish after all. They remind us that dreams take root in the places in which they are cultivated.

  networksrhodeisland.org

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  Ruth Dealy

  Ruth Dealy and Richard Goulis

  I am a painter who has lived and worked in Providence, Rhode Island for the past forty-one years. I received my BFA in painting from the Rhode Island School of Design in 1971 and my MFA in 1973. My paintings have been in the form of two series: one of self-portraits and the other of landscapes, both interior and exterior, which act as secular altarpieces. Having fixed subjects has allowed me to submit one vision fully to time, light and mood so that there is a scientific as well as spiritual, element.

  networksrhodeisland.org

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  Elizabeth Pannell and James Watkins

  Elizabeth Pannell, James Watkins, and Richard Goulis

  Life’s course does not always follow the planned route. These days, as time allows, I am drawn to the sea, to bask in its restorative powers. I was raised on the water, the daughter of a sailor, and have always had an emotional response to the sea’s energy. I paint from life, plein air, in locations which are imbued with peace and tranquility. In response to the elements, awash in color and light, I work to express this feeling of calm inspired by nature. My paintings are studies, impressions of a day, a location, a time of year, a moment, a memory. –Elizabeth Pannell, 2008 Watkins’ work is about contemplation as much as it is about the action of making. His work slows down our perceptual process so that we can consider the possibilities of interpretation rather than having the obvious and often literal shapes name themselves. The universality of his forms reflects whole worlds of faunal, floral and artifactual antecedents. We soon find ourselves asking questions. Does the transparency of a glass form complicate its exterior shape or help us perceive its major volumes? Does a shaped outline in a relief derive from a three-dimensional work or vice versa? Are the other elements which give context to his pieces like wall plaques or horizontal bases integral to his objects or apart from them? Unlike most objects in our modern world, the things that Watkins makes afford his viewers the chance to think, to consider the possibilities, to contemplate, and thus to imagine. From: A Pattern Language: The Sculpture of James Watkins by Ronald J. Onorato

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  Toots Zynsky

  Toots Zynsky and Richard Goulis

  I began working with glass in 1970 because it is an extraordinarily versatile material and I believed that there were endless unexplored possibilities. I still believe this . I employ the vessel as my vehicle of expression because of it’s basic three dimensionality; giving me the possibility of working in 2 and 3 dimensions at once, with endless multiple surfaces and views – both interior and exterior. The structure of my pieces (made up of thousands and thousands of colored glass threads thermally fused together and then formed by hand while hot) and the color are one and the same and this purity is important to me.

  networksrhodeisland.org