Nancy Cohen's unconventional drawings, made with paper pulp and fritted glass, originate in her move to Jersey City in the 1980s. Along the shore and waterways, the evergreen vegetation thriving amid industrial waste sparked Cohen's environmental awareness. Waterways recur in her work as symbols of nature's ability to endure adversity.
In "The State We're In," Cohen pursues the theme of survival, environmentally and personally. She describes her process as "thinking with my hands." Concerns outside the studio and challenges within are explored through physically pushing the boundaries of paper and glass.
"We're in a state - it's unavoidable," says Cohen. "We look in, and we worry. We look out, and we worry more. We can't avoid the state of things, and we can't - and shouldn't - ignore the state it puts us in. And yet, we can reflect on the fragile beauties of the struggle for survival. We're still here."
The materials serve as collaborators and provocateurs, where fused glass objects or handmade paper are repurposed as source material and inspiration for later works. Cohen's choices of materials and processes challenge notions of fragility and resilience. Like fritted glass undergoing transformation in a kiln, Cohen's work focuses on strength and beauty in the struggle for survival.
