Bio/Statment

Originally from Upstate New York, Claire E. Roll graduated from Gordon College with a  B.A. degree in studio art: concentrating in sculpture. She completed her Post-Baccalaureate program at the School of the Museum of Fine arts in 2014 and is now a Masters of Fine Arts Candidate at Boston University. She lives and practices in Boston. Her commissioned work includes the Center for the Arts at Endicott College in Beverly, MA, Roberts Weslyan College in North Chili New York, and Clarendon Hill Presbyterian Church in Sommerville, Ma. Roll has exhibited at Colgate Rochester Crozer Divinity School in Rochester, NY; Khaki Gallery in the South End of Boston; and the Nave Gallery in 2014. Private collections include La Volpara, in Santa Maria Monteleone in Orvieto, Italy.

 

Statement 

My work is about instinct - embracing it and subverting it - forming it and freeing it until the external meets the internal. The work is a testament to the strength and cerebral rawness of feminine intentionality. Visually the work encounters the history of objects and their making; encompassing architecture and its function; suggesting public and private narratives that include: gender, ritual, and the duality of communal and personal identity. I find inspiration in the body - physical and emotional - in random occurrence, the process of improvisation, and the liberating acceptance of all materials as viable options for making sculpture.

I experiment reciprocally using additive and subtractive processes as tools to break apart my own conventional and logical tendencies. Combining raw, reclaimed, and disjunctive materials is an attempt to find poetry in vibrational harmony. Accumulation and erasure allow the sum of materials to push beyond their original singularity. Materials that retain their identity and remain ever unique as a part of a larger whole, ignore rationality, break apart limitations, and embrace a fullness of being.

The large-scale work challenges my proportionality and defines space as an enigmatic entity, both physical and transcendent. The correlation of a structure to the bodies moving through it engages space as an extension of identity, as a tangible representation of investigative journey, ritual, and communion. It signifies an act of finding, of becoming and unbecoming, of moving forward and standing still. The Feminine ceases to function as a void and instead offers a “Place” to find rest, an opening and unfolding to the presence of space; a mirror of the opportunity to be filled and emboldened, an example of strength in offering oneself to another, and tangible evidence of the Origin that nurtures and fosters growth. 

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