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.

 

Artist Statement:

I work reciprocally and responsively to connect the varied identities of raw and reclaimed materials as a woven metaphor; to explore the nature of improvisation as call and response. To sculpt a line, is to touch a line, to reach outside of one’s own space. To feel that line become form — a physical representation of the abstract notion of time — is to understand it intimately and to embrace it as a true and real thing. When time and space become material — much like stone, or earth, or fiber — they can be dually defined as enigmatic entities both physical and transcendent. Likewise, accumulation and erasure of material allow the sum of the elements within a work to push beyond their original singularity while still retaining their identity. They remain ever unique as a part of a larger whole; they ignore rationality, break apart limitations, and embrace a fullness of being. 

As such, I require my process to hold contradictory questions within the same space; to relocate the “known” so perception can shift in the presence of a tenuous and paradoxical vibration of realities. Embracing the tension created by conscious subversion gives voice to the strength and cerebral rawness of my feminine intentionality while emboldening its delicacy and tenderness. 

The elements and materials in any work or process will invariably speak of their origin; of the time in which they were made. Only through activation — conscious participation — can the authenticity of a work become present once more. As a space or form is encountered, as one autonomous thing chooses to locate itself with another, biases are challenged and identities are decentralized. Access is granted to a realm of simultaneity that renews memory and allows effective consciousness to occur. Reconstructing the relationship between two objects, two materials, two ideas, broadens the definition of reason itself. It begins to separate the flattened and linear quality of verbal logic from more intuitive and complex forms of reasoning. Creating this workable dialectic of self and other, opens the heart to the truth of voices too quiet to hear without pause. 

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