"I’m very much married to my materiality, but it’s the search for form and the ideas that I’m after. I might be working with a wax and think, “OK, there’s some potential here, but what’s lacking? Ahh, what’s lacking is it wants to become more three dimensional than it is. It wants to become exaggerated.” I’m not interested in it unless I am pushing that form. The ‘archaeology of daily life.’ I use that to describe what I am doing out here. It’s examining the mundane. Then, it’s a matter of just studying the historical aspect of egg flippers or eggbeaters or whatever it is. Now, where am I taking this?"
– Lou Lynn
For nearly forty years, Lou Lynn has explored the sculptural possibilities of combining the fragility and optical properties of glass with the strength of metal and other materials. She attributes her interest in this approach to her studies at the Pilchuck Glass School.
Lynn’s sculpture has been shown in numerous national and international exhibitions and is in public collections that include the Canadian Museum of History, the Canadian Clay and Glass Gallery, the Glasmuseum, in Denmark, the Montréal Museum of Fine Arts and the Corning Museum of Glass, in New York State.
Lynn taught professional practices for over twenty years and was the co-coordinator of the “Beyond Borders: Craft Marketing” conferences held in Nelson, British Columbia, in 2003, and Fredericton, New Brunswick, in 2005.
In 2006, she was the recipient of the Gerson Award for Excellence, Innovation & Leadership from the Craft Council of British Columbia and, in 2010, she was inducted into the Royal Canadian Academy of Arts.
Selected works
Lou Lynn, Berry Scoop, 2012, glass, bronze and steel, 25.4 cm x 73.66 cm x 20.32 cm. Artist’s collection.
Photo: Janet Dwyer
Lou Lynn, Shovels Triptych, 2018, glass, bronze and steel, 106.68 cm x 182.88 cm x 48.26 cm. Artist’s collection.
Photo: Janet Dwyer
Lou Lynn, Button Box, 2014, glass, wood and metal, 45.72 cm x 106.68 cm x 106.68 cm. Artist’s collection.
Photo: Janet Dwyer
