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Image: Lucia Hierro - El Costo de la Vida -Independent Art Fair - LatchKey Gallery



Artist Statement: Working primarily with Dichroic glass, Sean Augustine March has reinvented light as art. Focusing on the optical qualities of light, he creates an immersive environment of sharp repeated lines in vividly blending colors spanning the entire visible spectrum. 

Artist Bio: Sean Augustine March was born in Binghamton, New York in 1982. After moving to NYC in 2001, he began his career in art through graphic design in fashion. Focusing fully on sculptural work starting in 2013, his works have been exhibited at ArtwalkNY 2014, and 2015, Galeria Melissa Soho, and have been featured in Vogue, WWD, Glamour, and Wired.


NK: What got you interested in working with glass?

SAM: I have always enjoyed learning new ways to alter light, and after a few uninspiring years of painting and drawing, I decided to focus on light itself, as opposed to colors that refract the ambient light around them. Mirrors were my gateway to glass... I initially developed my own form of infinity mirror which led to my search for a type of glass that could not only reflect light, but also transmit it. Turns out, dichroic glass gave me exactly what I needed... I haven't looked back since.

 NK: Do all of your art works require some type of light?  If yes please elaborate on how the use of light brings your works to life.

 SAM: Absolutely, you'd be hard pressed to find any visual art that doesn't require light. In my methods, i use dichroic glass to interfere with the light interacting with it, whether it be a spotlight, sunlight, ambient room lighting, or a light source from within. I'll try not to get too scientific on the subject... When light hits a surface, it can either reflect, refract, transmit, or absorb... All these things are everywhere you look... What im doing is controlling how the light hitting my artwork is affected. The result is highly vivid, dynamic color gradients that in real life, look unreal. The affect is nothing short of stunning. 

NK:  You work on fine art and design.  What is the difference between the two?

SAM: Fine art is where I can experiment and learn and progress, so from a viewers standpoint, its much more lively and sprawling and ambitious than my design, which has a much slower, deliberate progression. I like to think of it as my analytical work, and my fine art is my expressive play. 

NK: Is there a brand you would like to collaborate with?

SAM: Thats tough... Brands can change the entire meaning of artwork, and I certainly don't want to endorse anything without full creative control. Id be interested in working with any brand whos goal is to lower energy consumption worldwide.

NK: Is there an artist you would like to collaborate with?

SAM: I would like to collaborate with MIT students... People pioneering the field of optics. I consider them to be artists of the highest order. 

NK: How important is Social Media to you in terms of exposure and promotion?

SAM: It's important today... Everyone is looking at their phones... So I gotta get my work into their phones or they will miss it. Its a necessary evil... I like my work to speak for itself, so instagram and pinterest go a long way. 

NK: What is your favorite museum?

SAM: The MET, ive seen colors there that ive never seen anywhere else... Ive learned so much... Ive gotten to stand right next to works made thousands of years ago that are still standing. 

NK: Are there any upcoming projects you are working on? 

SAM: Many... Right now my design side (lamps) are requiring a lot of my time. I will be having a solo show at Rivington Design House this spring... It will be my most expressive work to date. And colorful.

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