Sean Hennessey creates sculptures in glass and concrete that are narratives based on mythologies, religions, personal experiences and whimsy. By using imagery of common and slightly nostalgic items Hennessey tells narratives of hopes and dreams, and of memories and transformations.
 |
| Sean Hennessey, “Killing Time and Times Revenge” (detail and full image), glass, concrete, found objects, paint, wood, integrated video components |
A graduate of the unique Berea College, Sean worked in professional theater for 10 years as a welder, carpenter, rigger, scenic artist, prop artist, and designer all the while creating his own artwork. Sean has been with the Washington Glass School since 2004 when Tim Tate finally convinced him that glass was cool.
 |
| Sean Hennessey reviews the cast glass panel fresh out of the kiln. After the annealed panel cools, Sean works the panel with concrete and paints. |
Hennessey’s sculptures are kiln formed slump cast glass panels that he trowels and paints with concrete and stains. His works have a feeling of relics, of archeology, and of the study of the past.
 |
Sean Hennessey “The Tweedles” (detail) kilncast glass, paint, EL panel lighting.
24″ x 12″ |
Said Hennessey of the new works being installed his solo show “I wanted to start with the fun, absurdist, creative stories of Lewis Carroll’s tale, using my own imagery, visual language and loose interpretations, riddled with a personal take on metaphors and combine that with materials I have been using and with materials that are very new to me. The desire to include video and lighting in my work was the original impetus for this project”.
 |
| Sean Hennessey “Finding The Right Key” (detail) kilnfired glass, concrete, paint, EL panel lighting. |
“I equate the concrete with the realities of earth, and life, and the shell that we use to protect ourselves from exposing our soul to the world” Hennessey said his use of unusual medias not normally associated with fine art. “I‘ve been combining glass, paint, steel, wood, concrete, found objects, stencils, LED’s, electroluminescent lighting (EL) and video. All the fun stuff.”
 |
| Sean Hennessey, “Pool of Tears” (with image detail), kilncast glass, paint, steel, wood, integrated video component |
The series was funded, in part, from a grant Hennessey received from the District of Columbia’s Commission on the Arts and Humanitiesand will be hosted by the architecture firm Weibenson and Dorman in the 410 Goodbuddy Gallery.
Hennessey is one of the artists involved in the renovation of the entry doors of the Library of Congress’ Adams Buildingby the Architect of the Capitol, now under production. One of the East Coast’s leading mold makers, Hennessey has been taking castings of the landmark’s historic bronze doors as part of the process in translating the relief sculptures into cast glass for the building entry.
 |
| Sean Hennessey, “Drink Me” (detail) |
Sean Hennessey: Reimagining Alice
A MixedMultimedia Series Based On Alice In Wonderland
September 28th – October 26, 2012
Opening Reception Friday, September 28th, from 5-8 PM
410 GooDBuddY Gallery
410 Florida Avenue, NW, Washington, DC
410 GooDBuddY is an exhibition space can that can be used by a single artist to exhibit their works. It is within the FRINJ neighborhood of Washington, DC, and is partially provided by Wiebenson & Dorman Architects whose studio is located in the same building.
>
Earlier in the year our blog documented the cast glass samples being trialed for the signage that would be mounted over the front door at the Washington Glass School.
After months of testing, dithering, and distractions, we have finally installed the entry signage. Made of kilncast float (window) glass, the signage panels are very simple and straightforward in design – intended to give a more formal presence to the (very) industrial nature of the building complex. The bas-relief letters emerge through textures made from recycled glass elements (broken glass, glass shard edges) and catch the light.
