Clare Sullivan Adams

Winter Flood Plain

2008

Monotype print on paper

13 x 16 in

$300

Artist’s Statement

On “Reverse Glass Painting and Warm Glass”

Although my main art pursuit has been painting and printmaking, I’ve always had an affinity to glass. In high school, I was taken by stained glass and in the late 90’s, I worked as a decorative glass painter. I continue to be fascinated by light and glass.

About 3 years ago, I started experimenting with reverse glass painting. This is an old technique of oil painting directly onto glass often incorporating metal leaf and etching techniques. Reverse glass painting is not so different from printmaking in that the design is worked on as a mirror or reverse of the original drawing. This painting  technique interests me for its glossy and mysteriously reflective surface. There are glass paintings centuries old, but this is not an inherently stable medium and may be prone to peel and chip if exposed to extreme weather conditions. 

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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