Dahlia Bushwick

B I O G R A P H Y

 

              Dahlia Bushwick was born in 1990 in York, Pennsylvania.  In 2013, she received a BFA in Painting from Maryland Institute College of Art (MICA). While studying for her degree, she began working as an intern at Corradetti Glassblowing Studio in Baltimore and was hired as a part-time employee in 2012. In 2013 Bushwick began interning at Art of Fire glass studio in Gaithersberg, MD.  She was subsequently hired as a glass assistant at Chrysler Glass Studio, where she performed equipment maintenance, assisted and taught.

            Bushwick engages with a variety of different mediums, and her current work creates a dialogue between painting and glass.  Although both materials are process-based, hot glass requires instantaneous decisions, while painting allows the artist more flexibility with time.  The combination of the two mediums creates an interesting dichotomy.  With both materials, Bushwick is attracted to the challenge the mediums present:   each stretch the boundaries of what the substances are capable of doing while restraining the materials so that they are still under her control. She has had her work exhibited in the Chrysler Museum Glass Studio, at Current Space in Baltimore City,  and at the Pilchuck Glass School in Washington.   Presently, Bushwick is a resident artist at Lillie Pad Studios in Millersville, MD.  In August of 2015, she has a solo exhibition in Lillie Pad Studios Loft Gallery.

 

 S T A T E M E N T

            As with most humans, I am both fascinated by and frightened of the future.  I find myself drawn to works that build upon their past while projecting their potential future.  The contrast between growth and its inevitable corollary—decay—fascinates me.  During my undergraduate studies, I began working with rust as a form of aging paired with latex paint skins, and the series has transitioned into an interaction with glass to allow a more sculptural approach to the material. The aging of materials parallels our human lifeline.  As humans age, not only do our bodies begin to decay, but the memories and purity of our childhoods inevitably alter and deteriorate, as well.   This internal dilapidation reflects itself externally in the work.   These pieces explore the impact of time upon our lives, as well as the subsequent growth of new objects fed by the old. Through the interaction of these mediums, I reveal to viewers deterioration beneath an ongoing accumulation.

 

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