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Meet the Artist
About This Artist
Genevieve Geer slowly zig zagged her way down the East Coast, attending Parsons School of Design in New York City and The Museum School in Boston. She majored in illustration, film and animation. She began to train as a glass blower in 2007, and in 2013 she started Le Puppet Regime, specializing in articulated, illustrated stained glass.
Q&A With This Artist
A: On good days, ideas and execution are a well choregraphed dance, full of mystery, magic and muse. On bad days, it's like finger nails on a chalk board and a faucet with no water pressure. An idea usually pops into my head, and I mess around with it, should it be a small piece, a big piece, a one of a kind piece. How much three dimensionality can I find in it? How much color will there be? Is this a painting thing or a flash glass thing? Once every question is answered: POOF! A piece appears.
A: The endless flexibility. Glass can do anything. BUT, it's a challenging little fella, so convincing it that it CAN do anything is something of a chore. This is not a medium for the faint of heart. You need to be tenacious and almost obsessive to figure out each process, but when you finally get it how you want--WOW!
A: Pretty much everything? People have very clear visions of what stained glass can be, and my work is so far away from that, I have actually been told I don't do stained glass! All the techniques I use are the same as any other stained glass artist--I mix all my paints from scratch with my own secret recipe, I use the same copper and solder, and patinas and wax. But once it's through my personal filter it looks like nothing people expect. I love that about my work.
A: Oh SO Many! City of Lost Children, Amelie, Metropolis, The Cabinet of Dr. Caligari, Time Bandits. Any poster by The Stenberg Brothers, Yuko Shimizu the illustrator. I love Coffee Table books that make paintings BIG so you can see the details in a work. I learn a lot by studying painters. I love Reubens, Durer, Bosch. Old hand painted maps, etchings etc... I love Japanese woodcuts. And robots.
A: I actually don't have a great answer for this. I always think of craft as extremely personal, and not really a group thing. Because of how intimate a person is with objects that are considered craft, it seems like a very private relationship--between one person and the handle of a mug that feels great in your hand. Or an amazing cloth against your skin. I see the magic of craft as between a person and their tangibles.
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