The collaborations of Sonja Peterson and Cheryl Wilgren Clyne come out of their mutual desire to examine and expose aspects of environmental and social concerns through artistic practices.

For this project we join Yen-Ming Lee of PICKARD CHILTON for a collaboration.

Sonja Peterson
sonja@umn.edu

Cheryl Wilgren Clyne
clyne003@umn.edu
763-370-6684

1.b
Kiln Formed Glass can be back-painted- although this is very opaque
There is a possibility of "frit casting" -
Which is a very loose painting of an image-
By using a different glass sprinkled through a stencil onto the top of existing sheet of glass.

1.c
Kiln Formed Glass with back painting- and light on the front - the light would reflect from the different planes.

* 1a,b and c- can be combined.

2.
PVB Interlayer
2 pieces of clear glass with 1/8" each
With a polyvinyl buter interlayer and acetate sandwiched between,
Safety rating: class 2
Still to find out recycled details

We could print onto the PVB or onto acetate.
The acetate is better for backlighting as it is denser and allows for more contrast and saturation.
full color.

3.
Tempered Glass with etching. Recycled glass
3/8" thick
The Etching allows for fine detail.

detail of ink drawings

a detail

Each panel is about 2’-3� x 6’-0�. Each column has14 panels. Each wall composes 3 columns of those panels to a total of 42 panels. We have total of 5 walls to a total of 210 panels.

Each wall surface area = 18’ x 31’-6�

Looking at the amount of panels, artist would need to figure out production of 210 panels that would have interest at close up view and at a distance. Our intent is to be simple and elegant and let the recycle nature of glass show. Recycle/green would be the key and the story behind these paneled walls.

All imagery submitted here is from original paper cuts, which I created on the spot. I have taken photos of them and digitized them and then manipulated them with Photoshop.
The image with the birds is from large circular piece that I created with the trees roots interwoven and clasping each other to grow out and create a forested mandala. The idea of the mandala is a meditation for a renewed habitat for known of and future endangered species throughout the world, as these forests are threatened by man’s growth.

My work is a puzzle that I create while trying to make sense of issues that are larger than life to me. I know I am finished when the work operates of dual levels- as a design of beauty that can also draw one into its complexities.

I draw from landscapes I have encountered while immersed in the land on motorcycle journeys, my work begins randomly, then progresses to a meditation on relationships. Recent meditations and works have focused on the imbalance created by the demands of engineered farming on the natural environment, and questioning the power of the consumer to tip the balance between multinational companies and small farmers. All this comes together philosophically when considering man’s constant attempts to control nature.

Much my work involves the slow process of cutting, this process allows me time to untangle truths from layered connections. I like to find the negative and either cut it out and get rid of it or play with it and twist it. The act of cutting out the negative gives a satisfaction of simplifying complexities that are out of ones reach. It is in a sense mapping a jumbled mind full of concerns for the entanglement of positive and negative, good and evil - the balance of power and energy.

Any of the images can be changed in hue or contrast according to the intent and site in which they will be displayed. At this time they have been printed on Moab and several rice papers.

My art practice involves intimate studies and acute observations of the everyday. The fact that these moments are so easily dismissed is why they are vital. This is in part what drives me to push these observations out into the arena of my work. I have a strong desire to record nearly everything around me as evidence and to create an interpretation of what has occurred. I am especially interested in the fleeting or ephemeral moments that may be forgotten.

The aspiration to collect proof of the passing of an event may come in part from my moving from place to place 39 times in my life. So much of my own history has been left behind.