(2^2) Wrath
Above:
Shattered found pottery
lends sculptural interest
to
IVrath
(2010). For the
flnial, Petrovic made a
tiny maple rolling pin on
a lathe.
Above right:
“Visually, I like the look
of
Envy
a lot,” says
Petrovic. They designed
the piece (2010) around
the video concept: a
creepy eye, peering
through a keyhole.
Opposite:
Vanity
(2010) combines
video and audio,
reflecting viewers and
showering them with
compliments. The finial
is an antique compact.
of Michael Janis, a tongue-in-
cheek poke at an artist with
whom Tate shares workspace
at the Washington Glass
School. The tiny gate is Petro-
vic’s handiwork - a rare oppor-
tunity to exercise a long-ago
minor in metals, he says. His
wife, artist Kari Russell-Pool
(with whom Petrovic also has
collaborated), lent a hand with
the grass.
In
Vanity
, a small video
screen displays the image of all
who approach. Peek into this
technological mirror and a
recorded voice gushes, “You
look wonderful. Have you lost
weight? You look younger
every time I see you.” Tate
added the video as a special
SO F A touch, recruiting a col-
lector he knows (who has “the
perfect voice”) to record the
seductive track.
“Most of the time at SO FA,
you can walk in, and across the
room [you can see the piece],”
Tate explains. “Comprehension
is at a distance and immediate.
You don’t have to dig deep - it’s
a materiality kind of thing, not
necessarily conceptualise^«
Deadly Sins
required people to
engage a lot more, he says.
Drawing in viewers to interact
with the work is, arguably,
the
pièce de résistance
of their
collaborative process - the shar-
ing of a work that transforms
everyone who sees it into an
active participant.
While Tate and Petrovic
have both returned to their sep-
arate pursuits for now, they
agree that, given the right op-
portunity, they would work
together again.
“I think we’re entering the age
of collaborations,” Tate says.
+
marcpetrovic.com
timtateglass.com
Ju lie K . Hanus is
American
Craft!?
senior editor.
046 american craft apr/may 11
www.downmagaz.com
