posted on 8:49 AM, July 17, 2017
Moon Study II (Lamp Black) Photo courtesy of the artist

Tell us about yourself!
I am an artist, administrator of other peoples art, and material technician in my professional practice. I am also an amateur writer, runner, gardener, biker, reality singing competition aficionado, and dancer. I am currently working as the Education Coordinator at UrbanGlass, an arts non-profit in Fort Greene, Brooklyn, a position I took in September of last year. I was born in Scarborough, Ontario, and have lived largely in rural areas or small cities before my time in New York, and I expect this new, concrete landscape to have a significant impact on my work. 

What themes do you pursue in your work?
In my solo practice, I am constructing a body of work built upon romantic gesture, structural failure, and the necessity of instability. Centered around an acute awareness of gravity, my collage, sculpture, and performance proposes that a questionable foundation may be the best to build upon. I am also a member of Flock the Optic, a three-goose collective formed in 2014 with Abram Deslauriers and David King. Our explorations are focused on cyclical patterns, like those found in goose migration, optics, ferris wheels, life cycles, mazes, looping beats, seasons, the digestive system, the color wheel, and many more.

If you weren’t working in this field, what career would you choose?
I feel astoundingly lucky to have been a conscious enough 16 year old to recognize the importance and vitality of art in this world, and to decide to educate and devote myself to it. The historical precedent, back to the most ancient version of ourselves, tells us that art is engrained in humanity, and I do not see another path for myself. 15 year old Liesl, however, had potential futures as a massage therapist, butcher, nurse, or physicist.

What draws you to the material you work with, and why have you chosen the processes that you use in your work?
I use whatever material/process/physical force/body needed in order to communicate my ideas. My practice, and the practice I have with Flock the Optic, rely heavily on brain storms, material investigation, understanding the properties of materials and the historical weight of using them, and the application of those thoughts and realities to my own uses. This is the way I use glass, as a medium that is ubiquitous in our culture, has architectural, domestic, and historical significance, and is an endless mystery to investigate in its molten state. 

What’s something about you that most people don’t know?
I have a freckle patch on my left thigh in the shape of the big dipper. Macro/micro/body investigations.

Why are you a member of GAS?
Glass has shaped the course of my life, as a student, artist, and arts professional. It has done so as a material, but also as a community builder. It is a medium that brings the most incredible, kind, strange and talented people to the forefront, and I continue to be a member of GAS to engage with this community, and for the opportunities to connect, such as this one. Thank you. 

See more of Liesl's work here

You've Got to Flap Up to Float Down - still from Flock the Optic performance Photo by Gary Marshall
Facade (We Have Always Been Collapsing) Photo by Katharena Rentumis

The Glass Art Society reserves the right to deny applications for Technical Display, advertising participation, GAS membership or the conference from anyone for any reason.