A R T I S T   S T A T E M E N T :

Where is the break between my self and the rest of the world? My investigation begins with defining self through rigorous examination and comparison. My work discusses “the other” in terms of another person. However my inquiry has also led me to consider the space between action, words or meaning. I desire to articulate and name, the liminal space between. This elaborate strategy of probing involves constantly struggling with the boundaries of separation and defining the differentiated or undifferentiated space between. It seems that there is an undiscovered intimate tie between us in this world that we share. In my works I attempt to make these connections visible through apparatus, interventions, installations and collaborations.

The human desire and dilemma to bridge the unfathomable distance between each other is at the heart of my investigation. I question the philosophical need for the space between one and other, and through my work, the allure of fusion.

In my studio practice, I struggle with duality. Glass is a material that I use in much of my work. It encapsulates binary qualities cloaked with competing characteristics: liquid and solid, elastic and brittle, captivating and humbling. I am constantly looking for historical references, relevance, and reasoning for using this material. My works begin with historical model, paying homage to traditional glass techniques, or industries that have used glass, which I refashion to create commentary on our present moment in time.

 

B I O G R A P H Y


In this age of over-connectivity, Charlotte Potter’s studio practice seeks to visualize relationships and the impact they can have on the self/self identity, often employing a combination of new and old technology. Gravitating towards glass as a material and inspiration because of its ability to hold a dual identity; as hot and cold, fragile and strong, elastic and brittle, her works materialize as installation, sculpture, performance, and video. In addition to her personal studio practice, Potter has pioneered the field of performance glass in her work as the Glass Studio Manager and Programming Director at the Chrysler Museum of Art in Norfolk, VA. An avid educator, Potter is the mentor of the Chrysler Museum Glass Studio Assistantship program and has taught glass and new media courses at Penland School of Crafts and Oxbow. She received her MFA from Rhode Island School of Design in 2010 and a BFA from Alfred University in 2003.

Another facet to Potter’s practice is to bring contemporary art into the public, and create as many opportunities for viewing art in the collective space. Potter has co-founded two performance glass troupes, Cirque de Verre and the Glass Theater as well as being a co-founder of the Neon Arts District in Norfolk, VA, the director of Grand Point Weird, a contemporary art component to the Grand Point North Music Festival in Burlington, VT, and serves on the Glass Art Society Board, as the co-chair of the 2017 Glass Arts Society Conference. Her work has been exhibited internationally at venues, including S12 in Bergen, Norway; the Shelburne Museum in Vermont; the Oklahoma City Museum of Art; and the Boston Museum of Fine Art. Her artwork is included in the following permanent collections: the American Museum of Glass, the Chrysler Museum of Art, the Museum of Jurassic Technology, and the Henry J. Neils Frank Lloyd Wright House.

 

 

 

 

Sections

Statement + Bio

A R T I S T   S T A T E M E N T :

Where is the break between my self and the rest of the world? My investigation begins with defining self through rigorous examination and comparison. My work discusses “the other” in terms of another person. However my inquiry has also led me to consider the space between action, words or meaning. I desire to articulate and name, the liminal space between. This elaborate strategy of probing involves constantly struggling with the boundaries of separation and defining the differentiated or undifferentiated space between. It seems that there is an undiscovered intimate tie between us in this world that we share. In my works I attempt to make these connections visible through apparatus, interventions, installations and collaborations.

The human desire and dilemma to bridge the unfathomable distance between each other is at the heart of my investigation. I question the philosophical need for the space between one and other, and through my work, the allure of fusion.

In my studio practice, I struggle with duality. Glass is a material that I use in much of my work. It encapsulates binary qualities cloaked with competing characteristics: liquid and solid, elastic and brittle, captivating and humbling. I am constantly looking for historical references, relevance, and reasoning for using this material. My works begin with historical model, paying homage to traditional glass techniques, or industries that have used glass, which I refashion to create commentary on our present moment in time.

 

B I O G R A P H Y


In this age of over-connectivity, Charlotte Potter’s studio practice seeks to visualize relationships and the impact they can have on the self/self identity, often employing a combination of new and old technology. Gravitating towards glass as a material and inspiration because of its ability to hold a dual identity; as hot and cold, fragile and strong, elastic and brittle, her works materialize as installation, sculpture, performance, and video. In addition to her personal studio practice, Potter has pioneered the field of performance glass in her work as the Glass Studio Manager and Programming Director at the Chrysler Museum of Art in Norfolk, VA. An avid educator, Potter is the mentor of the Chrysler Museum Glass Studio Assistantship program and has taught glass and new media courses at Penland School of Crafts and Oxbow. She received her MFA from Rhode Island School of Design in 2010 and a BFA from Alfred University in 2003.

Another facet to Potter’s practice is to bring contemporary art into the public, and create as many opportunities for viewing art in the collective space. Potter has co-founded two performance glass troupes, Cirque de Verre and the Glass Theater as well as being a co-founder of the Neon Arts District in Norfolk, VA, the director of Grand Point Weird, a contemporary art component to the Grand Point North Music Festival in Burlington, VT, and serves on the Glass Art Society Board, as the co-chair of the 2017 Glass Arts Society Conference. Her work has been exhibited internationally at venues, including S12 in Bergen, Norway; the Shelburne Museum in Vermont; the Oklahoma City Museum of Art; and the Boston Museum of Fine Art. Her artwork is included in the following permanent collections: the American Museum of Glass, the Chrysler Museum of Art, the Museum of Jurassic Technology, and the Henry J. Neils Frank Lloyd Wright House.

 

 

 

 

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