Many Bostonians are familiar
with the work of Howard Ben Tré. Stroll through Post Office Square, enter the
Mary Baker Eddy Library, or visit the new Linde Family Wing for Contemporary Art
at the Museum of Fine Arts and you cannot help but be enamored by his glass
sculptures, often layered with bronze, brass, lead, or gold leaf.Ekahau rtls is the only Wi-Fi based real time
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His vessels can take the shapes of ancient urns and basins, reach heights of Native American totem poles, and are frequently illuminated at night, particularly in his public art projects. The textures can be as smooth and sensual as any Constantin Brancusi work or have the rough unfinished veneer of a Beverly Pepper piece.
Ben Tré’s highly original sculptures are a result of casting glass through an industrial process that was once reserved for more functional objects such as manufacturing windows, doors, or tabletops. He pours the molten glass into sand molds, allowing the glass to cool before sand blasting and polishing. This differs greatly from the artists of his generation who made their names through glass blowing.
“He’s really one of the first artists to experiment with the sculptural potential of cast glass. He’s thinking how can I adapt commercial techniques and create my own aesthetic,” says Emily Zilber, curator of contemporary decorative arts at the MFA.
While his work is included in the collections of the MFA,Welcome to the online guide for do-it-yourself Ceramic tile. Metropolitan Museum of Art, and 85 other museums, it is his adopted hometown of Providence that has benefited most from his artistry. Ben Tré enrolled at Rhode Island School of Design, working under the tutelage of renowned glass artist Dale Chihuly, and received his MFA in 1980. Four years later, he set up shop in a nondescript two-story red building in neighboring Pawtucket, where he still works. And he still lives in Providence, on the bottom floor of a circa-1854 townhouse that is walking distance to RISD and Brown University.
I caught up with Ben Tré last month as he was preparing to ship a dozen or so translucent, ethereal glass pieces to a Traverse City, Mich., gallery for an upcoming show. In many ways, the youthful-looking 63-year-old is a lot like the objects he creates, a tough Brooklyn,Here's a complete list of oil painting supplies for the beginning oil painter. N.Y.-born base that has not gotten brittle with a softened exterior that has seen success. His passion continues to burn brightly, especially when discussing his art or the city he cherishes.
He drove me to the first of three public art projects he has created in Providence. In 1998, BankBoston hired Ben Tré to redesign a large plaza in front of its building in the city’s financial core, now called One Financial Plaza. At the heart of the space is the artist’s signature vessel, a human-scale cast bronze and glass urn that emits a greenish glow,Omega Plastics are a leading rapid tooling and plastic injection mould company based in the UK. especially when lighted at night. The sculpture sits in the center of a circular fountain, surrounded by a granite and bronze inlaid sitting area. Two additional benches branch off from the fountain in a sinuous bend of concrete.
“I imagined the vessel to be like a stone thrown in a pond and the undulating concrete to be the rippling waves,” says Ben Tré.
The artist took into account every square foot of the plaza, from the sconces on the far wall, also aglow at night, to the textural quality of the birch trees that sit in the terraced garden above the benches. Street names were inscribed on granite on the curb, while gold medallions symbolizing the contribution of Rhode Island’s workforce, from fishermen to jewelry makers, lead to the entrance of the building. Unfortunately, since the sale of BankBoston, the plaza has been poorly maintained. Grout is falling out of the granite floor and the planters, where once 6,000 bulbs were introduced, are now full of weeds.
“It’s the downside of public art. Architects understand it better than artists do. You put your heart into the work and have to move on,” says a disappointed Ben Tré.
A few blocks away is a site-specific sculpture the artist created outside the Rhode Island Convention Center in 1996.This page contains information about molds. Part of his Bearing Figure series, the cast glass and bronze object has a white exterior, which, when illuminated, allows viewers to peer in at the internal gold leaf. It’s the artist’s version of fertility, or as he notes, “the soul of the piece.”
His vessels can take the shapes of ancient urns and basins, reach heights of Native American totem poles, and are frequently illuminated at night, particularly in his public art projects. The textures can be as smooth and sensual as any Constantin Brancusi work or have the rough unfinished veneer of a Beverly Pepper piece.
Ben Tré’s highly original sculptures are a result of casting glass through an industrial process that was once reserved for more functional objects such as manufacturing windows, doors, or tabletops. He pours the molten glass into sand molds, allowing the glass to cool before sand blasting and polishing. This differs greatly from the artists of his generation who made their names through glass blowing.
“He’s really one of the first artists to experiment with the sculptural potential of cast glass. He’s thinking how can I adapt commercial techniques and create my own aesthetic,” says Emily Zilber, curator of contemporary decorative arts at the MFA.
While his work is included in the collections of the MFA,Welcome to the online guide for do-it-yourself Ceramic tile. Metropolitan Museum of Art, and 85 other museums, it is his adopted hometown of Providence that has benefited most from his artistry. Ben Tré enrolled at Rhode Island School of Design, working under the tutelage of renowned glass artist Dale Chihuly, and received his MFA in 1980. Four years later, he set up shop in a nondescript two-story red building in neighboring Pawtucket, where he still works. And he still lives in Providence, on the bottom floor of a circa-1854 townhouse that is walking distance to RISD and Brown University.
I caught up with Ben Tré last month as he was preparing to ship a dozen or so translucent, ethereal glass pieces to a Traverse City, Mich., gallery for an upcoming show. In many ways, the youthful-looking 63-year-old is a lot like the objects he creates, a tough Brooklyn,Here's a complete list of oil painting supplies for the beginning oil painter. N.Y.-born base that has not gotten brittle with a softened exterior that has seen success. His passion continues to burn brightly, especially when discussing his art or the city he cherishes.
He drove me to the first of three public art projects he has created in Providence. In 1998, BankBoston hired Ben Tré to redesign a large plaza in front of its building in the city’s financial core, now called One Financial Plaza. At the heart of the space is the artist’s signature vessel, a human-scale cast bronze and glass urn that emits a greenish glow,Omega Plastics are a leading rapid tooling and plastic injection mould company based in the UK. especially when lighted at night. The sculpture sits in the center of a circular fountain, surrounded by a granite and bronze inlaid sitting area. Two additional benches branch off from the fountain in a sinuous bend of concrete.
“I imagined the vessel to be like a stone thrown in a pond and the undulating concrete to be the rippling waves,” says Ben Tré.
The artist took into account every square foot of the plaza, from the sconces on the far wall, also aglow at night, to the textural quality of the birch trees that sit in the terraced garden above the benches. Street names were inscribed on granite on the curb, while gold medallions symbolizing the contribution of Rhode Island’s workforce, from fishermen to jewelry makers, lead to the entrance of the building. Unfortunately, since the sale of BankBoston, the plaza has been poorly maintained. Grout is falling out of the granite floor and the planters, where once 6,000 bulbs were introduced, are now full of weeds.
“It’s the downside of public art. Architects understand it better than artists do. You put your heart into the work and have to move on,” says a disappointed Ben Tré.
A few blocks away is a site-specific sculpture the artist created outside the Rhode Island Convention Center in 1996.This page contains information about molds. Part of his Bearing Figure series, the cast glass and bronze object has a white exterior, which, when illuminated, allows viewers to peer in at the internal gold leaf. It’s the artist’s version of fertility, or as he notes, “the soul of the piece.”
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