The Eternal Eye

source: highlike

About: Slivinski, holds an MFA, from Cranbrook Academy of Art and a BFA, from Northern Illinois University. Slivinski started off 2014, by creating “Sanctuary of Illumination,” an installation at the Erie Museum of Art, Erie, Pennsylvania and will have three one person exhibitions in Chicago, Miami, and Montreal. In spring of 2013, Slivinski created the the “Ancestral Throne,” installation for “Elevation,” that was commissioned by Musique De Nuit, at the Roche de Palmer, in Bordeaux, France. In the same year she was commissioned by N’Namdi Contemporary, to create the “Energy Throne,” installation/performance during Miami/Basel. In the fall of 2012, Slivinski was named “Best Lighting Designer”, in Chicago, by CS Interiors Magazine. In 2010, Lucy completed “Silversurf Gate,” a public installation commissioned by the Chicago Park District located at the Logan Skate Park. She also had a one-woman exhibition entitled, “Inspired Terrains, Celestial Light in a Forest of Love,” at the Freedman Gallery, at Albright College in Reading, PA. In 2009, Slivinski had a one-woman show at Flatfile Galleries in Chicago, Illinois, entitled “Inspired Terrain, “In the Land of Love There is No Garbage.” And Lucy was celebrated in New York, in a One-person exhibition, at Phyllis Kind Gallery. Slivinski participated in the Novart Festival, with “Chicago Art is NOW” in Bordeaux, France where she created a performance sculpture at the Musee d’art Comtemporaire. She has exhibited several site-specific installations in Chicago, at Art Park,Buffalo, NY, Longwood University, Farmville, VA. and in Columbus, Indiana. She has work in many private and public collections such as, Capital Investments Collection, Chicago, Illinois, The Longhouse Collection in New York, the City of Chicago, City of Naperville, Illinois,City of Bolingbrook, Illinois and the City of St. Cloud, Minnesota Her work has been written about in Art in America, New York Times, and Sculpture Magazine, Chicago Interiors, and Luxe Magazine.

Lucy Slivinski at Phyllis Kind, Art in America For her first New York solo exhibition, Chicago-based sculptor Lucy Slivinski made use of a variety of industrial materials by performing the orderly repetitions associated with weaving and crocheting, at a larger scale and minus the tools and materials generally associated with those tasks. Her process-driven works result from the manipulation of wire, nails and chains ornamented with bottles, strips of clothing and other found objects. Each sculpture seems held together by the disparity and affinity of its elements and by Slivinski’s ability to physically shape apparently intractable materials. A few have the finely Grafted look of woven vessels or traps that bring Martin Puryear to mind, while others have the electric, teased-out massing and airy volumes associated with Alan Saret. They are locked in by the tension invested in the process of ordering things to do what they are not by nature inclined to do. Yellow Shadow (2004) is a vessel form made up of an exterior of welded steel and an internal basket of crocheted steel wire. At 4 by 5 by 4 feet, with the look of things that tumble, the yellow-painted exoskeleton resembles the sort of metal cage used to protect lightbulbs. However fine the wires of the interior basket are in comparison to the exterior cage, the two parts echo each other in form. Slivinski is interested in the playful incongruity of elements, and in much the same manner she adds an unlikely technique: strips of knit sweaters are subjected to a fabric-making process used to bind matted, compressed fibers, and the results are interwoven in the crocheted steel. In Thinking (2001, 56 by 24 by 24 inches), a crocheted openwork of rusted wire bursts from a metal drum. As much nest as basket, Pulse (1997) is an open cylinder composed of hundreds of short, hooked, rusting steel rods piled in layers as in a structure framed of popsicle sticks or like the coils that can make up the walls of a pot. At 6 feet high and more than 5 feet in diameter, Pulse seems filled with an ambient gallery light that pierces its outer wall. As though to introduce more light, Slivinski adds a chandelier of clear one-pint glass bottles suspended from the ceiling at the end of a rusty chain dangling into the maw of the steel-rod basket. The bottles that radiate from the chain at the mouth of the basket are wrapped in crocheted sleeves of thin, rusting wire, while those at the bottom, without a jacket, are by comparison both clear and incandescent. In all, the work is smart, tough and handsomely made. Edward Leffingwell.
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source: lucyslivinski

” I live in the collaborative space of ideas, conception and construction. My process with materials is focused on found objects integrated into conceptual art making, inspiring me by all connections and contributions. My work is the investigation of connectivity. I am both humbled and amazed at the regenerative power of life…. Through recycling, we have blessed opportunities to reshape things that are perceived as decay, into replenished mysteries of beauty.”

“I am a true believer and a seer of the creative possibility.”
– Lucy Slivinski

holds an MFA, from Cranbrook Academy of Art and a BFA, from Northern Illinois University. In 2012, Slivinski participated as the principle installation artist for the “Elevation Project”, at the Roche Palmer, in Bordeaux, France. In 2010, Lucy completed “Silversurf Gate,” a public installation commissioned by the Chicago Park District located at the Logan Skate Park. She also had a one-woman exhibition entitled, “Inspired Terrains, Celestial Light in a Forest of Love,” at the Freedman Gallery, at Albright College in Reading, PA.

In 2009, Slivinski had a one-woman show at Flatfile Galleries in Chicago, Illinois, entitled “Inspired Terrain, “In the Land of Love There is No Garbage.” And Lucy has had a One-person exhibition, at Phyllis Kind Gallery in New York City. Slivinski participated in the Novart Festival, with “Chicago Art is NOW” in Bordeaux, France where she created a performance sculpture at the Musee d’art Comtemporaire. She has exhibited several site-specific installations in Chicago, at Art Park,Buffalo, NY, Longwood University, Farmville, VA. and in Columbus, Indiana. She has work in many private and public collections such as, The Longhouse Collection in New York, the City of Chicago, City of Bolingbrook, Illinois and the City of St. Cloud, Minnesota