G A L L E R Y I S C U L P T U R E & I N S T A L L A T I O N A R T
Copyright © 2018 Hillary Heckard. All Rights Reserved. |
Beneath The White Sands Installation
2018
Mixed Media
Alfred, NY
Beneath The White Sands Installation, is a composition of individual sculptures, prints and video projection titled: Triangle Light, Intersections of Energy I & II, When Light Touches Space, When the Day turns into Night, Gravitas Lux, Blue cast glass with copper ring inclusion, Untitled, Beneath The White Sands, Glass Cocoon woven sphere ,and Glass wrapped suspended cone, that create one unified installation which explores the merging of fragmented simultaneous energy. This energy constructs the building blocks and intersections that create our spaces of existence. These spaces are comprised of the physical and metaphysical realms of reality that are known and unknown. The visual duality between the light and darkness of the larger architectural elements that construct this installation form a viewpoint into understanding the complex framework of space and time. The installation takes on a bodily configuration as the viewer approaches this transparent landscape of light. A new awareness of the physical body begins when entering the room and a shared experience occurs when multiple people are within the space, blurring the lines of sub-consciousness and consciousness. This integrated merging of the mind and body forms a sense of temporality within one’s own existence. Becoming grounded within the massiveness of the geometry of the forms dispersed around the room creates a symbiotic relationship challenging the boundaries of perception. This interaction between space and light evolves into a transitional framework of the mind.
Beneath The White Sands Installation
2018
Mixed Media
Alfred, NY
Beneath The White Sands Installation, is a composition of individual sculptures, prints and video projection titled: Triangle Light, Intersections of Energy I & II, When Light Touches Space, When the Day turns into Night, Gravitas Lux, Blue cast glass with copper ring inclusion, Untitled, Beneath The White Sands, Glass Cocoon woven sphere ,and Glass wrapped suspended cone, that create one unified installation which explores the merging of fragmented simultaneous energy. This energy constructs the building blocks and intersections that create our spaces of existence. These spaces are comprised of the physical and metaphysical realms of reality that are known and unknown. The visual duality between the light and darkness of the larger architectural elements that construct this installation form a viewpoint into understanding the complex framework of space and time. The installation takes on a bodily configuration as the viewer approaches this transparent landscape of light. A new awareness of the physical body begins when entering the room and a shared experience occurs when multiple people are within the space, blurring the lines of sub-consciousness and consciousness. This integrated merging of the mind and body forms a sense of temporality within one’s own existence. Becoming grounded within the massiveness of the geometry of the forms dispersed around the room creates a symbiotic relationship challenging the boundaries of perception. This interaction between space and light evolves into a transitional framework of the mind.
Diametric Luminous
2017
Wood, Neon
15ft. L X 10ft.H x 5 Ft. W
"Embracing our vulnerabilities is risky but not nearly as dangerous as giving up on love and belonging and joy—the experiences that make us the most vulnerable. Only when we are brave enough to explore the darkness will we discover the infinite power of our light,” Brené Brown.
Diametric Luminous, unveils an integrated experience for the participant willing to enter the sculpture. The space starts out with a large opening enough space for one person to stand before it slowly tapers down into a crawl space to emerge on the opposite side. The sculpture is meant to challenge the boundaries of comfort and perception in opening a new degree of awareness of the physical body and its relationship to adapting to space and environment.
2017
Wood, Neon
15ft. L X 10ft.H x 5 Ft. W
"Embracing our vulnerabilities is risky but not nearly as dangerous as giving up on love and belonging and joy—the experiences that make us the most vulnerable. Only when we are brave enough to explore the darkness will we discover the infinite power of our light,” Brené Brown.
Diametric Luminous, unveils an integrated experience for the participant willing to enter the sculpture. The space starts out with a large opening enough space for one person to stand before it slowly tapers down into a crawl space to emerge on the opposite side. The sculpture is meant to challenge the boundaries of comfort and perception in opening a new degree of awareness of the physical body and its relationship to adapting to space and environment.
Voiceless Voice
2017
Mixed Media
8 ft. H x 8 ft. W x 2in. D
Voiceless Voice, brings the viewer into a space that is both un-comforting yet domestic. The cube also represented as the “box” is darkened with the only light sources being an old and new projector. The 8 mm projector is projecting only light through a mirror hidden with words of a poem on the backside, which read: Faceless Face, Skin of Skin, Voiceless voice, Within.
In the mirror the viewer sees their reflection through a decayed and tarnished façade representing the dismantling of self, time and environment. This distorted reality is a glimpse into the unforeseen shadow self, vulnerable yet, un-detained. It is a dismantling into the rawness of being presented in a state of confinement and agitation. Where the face you see is no longer present within the reflection but broken apart by a pulsating light, where the skin that wraps around you envelops much more, it becomes a skin layered in the atmospheric movement of pulsating mechanical tones.
2017
Mixed Media
8 ft. H x 8 ft. W x 2in. D
Voiceless Voice, brings the viewer into a space that is both un-comforting yet domestic. The cube also represented as the “box” is darkened with the only light sources being an old and new projector. The 8 mm projector is projecting only light through a mirror hidden with words of a poem on the backside, which read: Faceless Face, Skin of Skin, Voiceless voice, Within.
In the mirror the viewer sees their reflection through a decayed and tarnished façade representing the dismantling of self, time and environment. This distorted reality is a glimpse into the unforeseen shadow self, vulnerable yet, un-detained. It is a dismantling into the rawness of being presented in a state of confinement and agitation. Where the face you see is no longer present within the reflection but broken apart by a pulsating light, where the skin that wraps around you envelops much more, it becomes a skin layered in the atmospheric movement of pulsating mechanical tones.
Luna
2017
10 in. W x 10in. L x 2 in. D
Cast Glass, Wood, LED
Luna which translates to moon, is an exploration of how the dark side of the moon may look when viewed from a distance in space. Luna explores the concept around water being found and a past history that this astronomical body once held.
2017
10 in. W x 10in. L x 2 in. D
Cast Glass, Wood, LED
Luna which translates to moon, is an exploration of how the dark side of the moon may look when viewed from a distance in space. Luna explores the concept around water being found and a past history that this astronomical body once held.
Gravitas Rainbow
2017
Mixed Media
20 ft. L X 8ft. H x 12ft. W
Gravitas Rainbow, is a sculptural installation that activates collective engagement in understanding the complexity and questions dealing with the present human condition. This installation looks at temporality as a main focal point. Nothing remains the same instead everything is constantly shifting, reorganizing, and becoming something else.
2017
Mixed Media
20 ft. L X 8ft. H x 12ft. W
Gravitas Rainbow, is a sculptural installation that activates collective engagement in understanding the complexity and questions dealing with the present human condition. This installation looks at temporality as a main focal point. Nothing remains the same instead everything is constantly shifting, reorganizing, and becoming something else.
Prism
2016
Neon, Glass, Wood
4.5 ft. w x 4 ft. h x 5 ft. L
Prism, explores the relationship between light and space. Using inert gases from Neon to Argon, I explore light as phenomenon through the transferring of energy in linear lines. Prism produces its own light spectrum. The shadows created in this piece form their own 3-D images that make up more geometric patterns showing different pathways of how light travels through the existent reality.
2016
Neon, Glass, Wood
4.5 ft. w x 4 ft. h x 5 ft. L
Prism, explores the relationship between light and space. Using inert gases from Neon to Argon, I explore light as phenomenon through the transferring of energy in linear lines. Prism produces its own light spectrum. The shadows created in this piece form their own 3-D images that make up more geometric patterns showing different pathways of how light travels through the existent reality.
A Glimpse Into Another Dimension
2016
Mixed Media
36 in. W x 80 in. H x 4 in. D
2016
Mixed Media
36 in. W x 80 in. H x 4 in. D
Light Painting
2016
Mixed Media
36 in. W x 80 in. H x 4 in. D
2016
Mixed Media
36 in. W x 80 in. H x 4 in. D
Eclipse
2016
7in. L x 7 in. H x 2 in. D
Cast Glass, wood
Eclipse explores the natural phenomenon of a temporal obscurity. It represents a passing or a moment in which two celestial bodies overlap and become one.
2016
7in. L x 7 in. H x 2 in. D
Cast Glass, wood
Eclipse explores the natural phenomenon of a temporal obscurity. It represents a passing or a moment in which two celestial bodies overlap and become one.
TimeKeeper
2014
Incalmo, Mirrored, Sandblasted, Tempered Glass
119 in. H x 80 W x 84 D
Timekeeper, explores the relationship between movement and momentum. The blown forms represent fallen pendulums, which historically were used to find the acceleration of gravity and keep time within clocks. The weight of gravity represented in the fallen pendulums correlate with the effects of gravity in relation to mass. The weight and force of this inherent attraction of physical bodies and objects eventually gives way to this infinite naturally occurring pull of the gravitational field. The black and white represent attraction of opposites, creating one unison form through the fragile balance in which they coexist. The mirrored components are a representation of the reflections and refractions when light constantly shifts the perception of the observer.
2014
Incalmo, Mirrored, Sandblasted, Tempered Glass
119 in. H x 80 W x 84 D
Timekeeper, explores the relationship between movement and momentum. The blown forms represent fallen pendulums, which historically were used to find the acceleration of gravity and keep time within clocks. The weight of gravity represented in the fallen pendulums correlate with the effects of gravity in relation to mass. The weight and force of this inherent attraction of physical bodies and objects eventually gives way to this infinite naturally occurring pull of the gravitational field. The black and white represent attraction of opposites, creating one unison form through the fragile balance in which they coexist. The mirrored components are a representation of the reflections and refractions when light constantly shifts the perception of the observer.
Anamnesis
2013
Installation
12 ft. H x 6 ft. W x 5 ft. D
Glass, metal, Paper
Anamnesis, is a installation relating to the experience and time that I spent staying in the Moses Meyers residence during my traveling assistantship at the Chrysler Museum in Norfolk, Virginia.
The Silent Observer stares into the quiet wind that touches the place of existence between the stairs of happiness and sadness.The sound of the soul luminescent of calmness quietly waits in the corner between the light and shadow.A dream emerges of a reminiscent cycle of residual energy left behind but not forgotten.
2013
Installation
12 ft. H x 6 ft. W x 5 ft. D
Glass, metal, Paper
Anamnesis, is a installation relating to the experience and time that I spent staying in the Moses Meyers residence during my traveling assistantship at the Chrysler Museum in Norfolk, Virginia.
The Silent Observer stares into the quiet wind that touches the place of existence between the stairs of happiness and sadness.The sound of the soul luminescent of calmness quietly waits in the corner between the light and shadow.A dream emerges of a reminiscent cycle of residual energy left behind but not forgotten.
Laguna
2013
Blown Glass, Silver and Gold Leaf
9 in. H x 4 in. W x 2 in. D
2013
Blown Glass, Silver and Gold Leaf
9 in. H x 4 in. W x 2 in. D
Moment
2012
Kiln formed and Blown Glass, Metal, Wood, and Concrete
3.5 ft. H x 27 L x 3.5 D
Moment, focuses on unpredictability and calmness centering on a fragile balance of weight and structure. I focused on the idea of a suspension bridge in which I had walked upon during a solo backpacking tour in Nepal in 2011. This installation is a representation on the perspective and knowledge gained in facing death and living in the moment.
2012
Kiln formed and Blown Glass, Metal, Wood, and Concrete
3.5 ft. H x 27 L x 3.5 D
Moment, focuses on unpredictability and calmness centering on a fragile balance of weight and structure. I focused on the idea of a suspension bridge in which I had walked upon during a solo backpacking tour in Nepal in 2011. This installation is a representation on the perspective and knowledge gained in facing death and living in the moment.
Magnetic Hug
2010
6 in. H x 20 in. L x 7 in. D
Kiln-Formed glass, Blown, sandblasted glass
Magnetic Hug, Repulsion and compulsion coexisting to create a equilibrium of opposites. Positive and negative, black and white, distant yet not void falling into the hand of abstract fluidity one shape moves into the solid sphere of a fragile balancing act of unity.
2010
6 in. H x 20 in. L x 7 in. D
Kiln-Formed glass, Blown, sandblasted glass
Magnetic Hug, Repulsion and compulsion coexisting to create a equilibrium of opposites. Positive and negative, black and white, distant yet not void falling into the hand of abstract fluidity one shape moves into the solid sphere of a fragile balancing act of unity.
Contemplation
2010
10in. H x 3.5 in. L x 2 in. D
Lost wax cast glass, blown glass
2010
10in. H x 3.5 in. L x 2 in. D
Lost wax cast glass, blown glass
Infinite Abyss
2009
Sand Cast Glass
11in. H x 8 in. L x 3 in. D
Infinite Abyss represents Birth, death and transformation.Tiny fragments of sand imbed the back of these spherical figures acting as scars through the eroding surface. On the other side is a clear polished window of depth looking into the perception of consciousness.
2009
Sand Cast Glass
11in. H x 8 in. L x 3 in. D
Infinite Abyss represents Birth, death and transformation.Tiny fragments of sand imbed the back of these spherical figures acting as scars through the eroding surface. On the other side is a clear polished window of depth looking into the perception of consciousness.
Solitude
2008
Pâte de verre
8 in. H x 5 in. W .5 in. D
Solitude, is a self portrait I made after living in a Korean Buddhist temple for three years called Mu Ryang Sa Monastery, in Honolulu, Oahu. Solitude, represents the importance of inner reflection and understanding in grounding oneself within the present moment.
2008
Pâte de verre
8 in. H x 5 in. W .5 in. D
Solitude, is a self portrait I made after living in a Korean Buddhist temple for three years called Mu Ryang Sa Monastery, in Honolulu, Oahu. Solitude, represents the importance of inner reflection and understanding in grounding oneself within the present moment.
G A L L E R Y II V i d e o S t i l l s & P R I N T S
Gravitas Lux
2017
Digital Print
10 in W x 15 in. H
2017
Digital Print
10 in W x 15 in. H
Impermanent Time
2018
Video Stills
The film titled Impermanent Time, focuses on the beauty and oddity that time carries through architectural structures after people have left and nature takes over. At an abandoned Sanitorium for natural wellness in upstate New York, I explored the crumbling mirage of decay and corrosion that happens in the quiet solitude of this once bustling center for well-being. Now, decomposing back into dust, this space becomes a reminder of the fragility of life and how life is always changing. The overlapping layers of the video capture different perspectives of stillness and wonderment in the light and darkness of the architectural facade. Different doorways and portals opening into unknown areas, looking out from within. Withering into a reflection of what self means in emptiness and what emptiness means in vastness, are the questions I contemplated in this eroding landscape. The moon which looks like an orb of energy at the end represents the push and pull of consciousness and subconsciousness within the overlapping of time and space.
2018
Video Stills
The film titled Impermanent Time, focuses on the beauty and oddity that time carries through architectural structures after people have left and nature takes over. At an abandoned Sanitorium for natural wellness in upstate New York, I explored the crumbling mirage of decay and corrosion that happens in the quiet solitude of this once bustling center for well-being. Now, decomposing back into dust, this space becomes a reminder of the fragility of life and how life is always changing. The overlapping layers of the video capture different perspectives of stillness and wonderment in the light and darkness of the architectural facade. Different doorways and portals opening into unknown areas, looking out from within. Withering into a reflection of what self means in emptiness and what emptiness means in vastness, are the questions I contemplated in this eroding landscape. The moon which looks like an orb of energy at the end represents the push and pull of consciousness and subconsciousness within the overlapping of time and space.
Capture
Video Stills
The video titled Capture, is a reflection of the past and present colliding together to create a moment of awareness. Capture was initiated from the time I spent living in Hawai’i at a Korean Buddhist Temple named Mu rang Sa (Broken Ridge Buddhist temple), located on the island of Oahu. I utilize my breath as a form of narration mimicking the sound of the ocean, wind and a clock. The ocean symbolizes the tides of change much like the breath does when practicing mediation. The beginning of Capture is reminiscent of being in a subconscious state. As the film proceeds it cuts into old 35 mm footage, I obtained of Oahu in 1972. The cross section of new and old film represents a storyline that focuses on the evolution of time in correlation with the environment. Thinking about the Hawaiian Islands as bodies and the ocean as a bloodline I envisioned the breath as energy that flows through these two elements bringing them together through a deepend state of awakening.
Video Stills
The video titled Capture, is a reflection of the past and present colliding together to create a moment of awareness. Capture was initiated from the time I spent living in Hawai’i at a Korean Buddhist Temple named Mu rang Sa (Broken Ridge Buddhist temple), located on the island of Oahu. I utilize my breath as a form of narration mimicking the sound of the ocean, wind and a clock. The ocean symbolizes the tides of change much like the breath does when practicing mediation. The beginning of Capture is reminiscent of being in a subconscious state. As the film proceeds it cuts into old 35 mm footage, I obtained of Oahu in 1972. The cross section of new and old film represents a storyline that focuses on the evolution of time in correlation with the environment. Thinking about the Hawaiian Islands as bodies and the ocean as a bloodline I envisioned the breath as energy that flows through these two elements bringing them together through a deepend state of awakening.
