Clare Adams
American, b. 1962 Neptune, NJ, based in Grafton, VT
RBG
2022
Reverse painted glass
$1000
Black Eyed Susans
2022
Painted glass
20 x 16 in
$500
Moth with Ants
2022
Stained and enameled glass
8 x 8 in
Sold
In Reverse (Hartley)
Reverse painted and stained glass
2021
16 x 13 in
$270
Fireflies
2021
Stained and enameled glass
15 x 15 in
$300
Frog
2021
Stained and enameled glass
7.5 x 7.5 in
$100
Three Crickets
2020
Stained and enameled glass
9 x 15 in
$300
Single Bee
2021
Stained and enameled glass
4 x 4 in
Sold
Bees Circle
2020
Stained and enameled glass
8.5 x 8.5 in
Sold
Virgin Tiger Moth
2020
Stained Glass
12 x 12 in
Sold
Bees
2020
Stained glass
6 x 6 in
Sold
Gold Stained Glassware
2019
Reverse painted & fused glass
3 in square (2 ea.), round (1 ea.)
Sold
Grafton Overlook 1
2019
Drypoint etching on paper (framed)
3 x 4 in
$150
Houses
2019
Drypoint etching on paper (framed)
4 x 4 in
$150
West River
2018
Block-print on paper (framed)
8 x 8 in
$120
Potato Field
2016
Block-print on paper
8 x 10 in
$50
Five Mile River
2016
Block-print on paper
15 x 17 in
Sold
Six Bees
2020
Stained and enameled glass
7.5 x 8.5 in
$100
Oak Drop
2020
Stained and enameled glass
18.5 x 20.5 in
$500
Cricket with Seeds
2020
Stained and enameled glass
4.5 x 4.5 in
Sold
Sunflower & Crickets
2021
Stained and enameled glass
14.5 x 15.5 in
$550
Transformation
2020
Painted glass
21 x 21 in
Sold
Virgin Tiger Moth (small)
2020
Stained glass
6 x 6 in
Sold
Monarch
2021
Stained and enameled glass
7.5 x 8.5 in
$75
Salamander
2021
Stained and enameled glass
7.5 x 7.5 in
Sold
Tiger Moth Quilt
2021
Stained and enameled glass
18.5 x 13.5 in
Sold
Grasshopper
2021
Stained and enameled glass
745 x 4.5 in
Sold
Grafton Overlook 2
2019
Drypoint etching on paper (framed)
4 x 4 in
$150
Townshend Village (artist proof)
2018
Block-print on paper (framed)
6.5 x 11 in
Sold
Ram Shack
2018
Block-print on paper
7 x 7 in
Sold
Parker Hill
2018
Block-print on paper
8 x 8 in
Sold
Vilas Bridge
2018
Block-print on paper
9 x 11 in
Sold
River Bank
2012
Monotype print on paper
13 x 13 in
Sold
Artist’s Statement
On “Stained Glass”
My most recent work has been in Stained Glass. In the mist of the pandemic, I felt compelled to reach back. Back centuries to the classic spiritual art of religious glass painting as well as back in my own life to my experiments in stained glass during high school (1980).
This work is made using recycled window glass. It is reverse painted with enamel and fired in a kiln multiple times at 1200 degrees. The glass pieces are then joined together using copper foil tape and soldered together with a lead and tin solder and then framed with zinc edging. My patterns have been inspired by American quilts. I have been looking at traditional styles as well as the stunning asymmetrical styles of African American quilts.
This new work has been satisfying to me as it combines my interests in painting, glass, color, craft, light and nature. To me each piece feels like a prayer. An earth prayer collecting light energy for healing and renewal.
On “Reverse Painted & Fused Glass”
I have been a painter and printmaker for most of my career and have recently been exploring painting on glass. I have always been interested in light and color, and glass painting adds an extra and exciting dimension both visually and technically. On these pieces I have used a grisaille technique in which the black paint is scratched away and the color is applied on top. The pieces are then fired, fused and slumped with the reverse side up so the painting is behind glass.
On “Monoprinting”
“I’ve always loved the view around each corner and the dramatic change of seasons here. Monoprinting has become a passion. It is painterly printmaking. I love the transparency of color you can create as the layers are built up.”
-Clare Sullivan Adams
Biography
Clare Sullivan Adams works in the mediums of monotype printmaking, painting, reverse glass painting, and most recently fused glass. Adams’s influence from Asian arts as well as her interest in reviving old techniques and continually pushing her work through the use of multiple mediums, all serve to inform her observational landscape prints and her abstract designs.
The artist’s complementary and tonal palette abstracts her landscapes, while her fluidity of brushstrokes and layers of pigment show her painterly printing style. In Adams’s reverse glass painting we see biomorphic shapes, and the application of gold and silver leaf in antique mirroring techniques used in a way which speaks to her printmaking work.
Adams’s work with the technique of fused glass brings the use of applied pigments as with a monotype print along with the addition of metal inclusions to works created with sheets of glass cut and fused into moulds within a kiln.
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