Jeremy Lepisto (NSW) – 2020 Finalist

The Extent (From the Container Series), 2018
kilnformed, coldworked glass, fabricated, black-oxide coated steel
280 x 254 x 762
Photo: Rob Little

Established Artist Category

American-born Jeremy Lepisto is a sculptural glass artist now based in Canberra. He has a Bachelor of Fine Arts from Alfred University, New York (1997). He majored in Glass and Metals (with minors in Art History and Art Education). In 2019 he completed his PhD in Sculpture at the Australian National University School of Art & Design, Canberra. Lepisto’s artwork is inspired by our separate histories, our intersecting connections and the constructed elements of everyday surroundings. Lepisto began his career working at the Bullseye Glass Co., Portland, Oregon as a Production Manager Apprentice, which informed his knowledge in glass kiln-forming. In 2001, while remaining in Portland, Lepisto left Bullseye Glass Co. to start Studio Ramp LLC, an independent, custom glass kiln- forming fabrication studio. The studio translated designs by artists and architects into glass from concept to completion, simultaneously Lepisto exhibited his work and lectured internationally, while serving eight years on the Board of Directors for the Glass Art Society (GAS). After re-locating to Canberra, Lepisto established Jeremy Lepisto Projects in Queanbeyan, New South Wales.

Jeremy Lepisto is represented by Beaver Galleries, Canberra.

“Within The Full Extent, a steel structure stretches across the farthest corners of its interior. It is reminiscent of a perpendicular portion of a construction crane. This item connects two illustrated and imagined cityscapes. Amongst the buildings rendered in each scene stands a single construction crane that is visibly missing a vertical section of its form. It can be inferred that the contents of this container could be utilised to complete the contour of only one of the illustrated cranes. This work looks to expose the typically unseen real-world objects that are held within shipping containers to better examine their agency. The objects held by containers (even if still in passage) connect the timelines and prosperity of their endpoints without yet existing in either destination.”