Irene Folic’s work is noted for its emotional impact and for her exploration of the human condition, both in her sculptures and in her multi-media explorations. She draws on the power of her experience in childhood and echoes the relationship of an urbanite with the land.
“I live in the heart of a huge, cosmopolitan city on the edge of the Canadian Shield, that region of windy lakes and granite and lonely forests that makes up one of the underlying myths that Canadians have about themselves: their relationship to their beautiful land. That tension between the human bustle that is in my face whenever I step outside my door and the windy loneliness in my head, is one of the things that I try to explore in my work.”
“My sculptures have, in the past, been concerned with the link between the psychology of the human face and the geology of the enduring rock of our land – “Portrait” and” How to Live in the World” Series. The surfaces were opaque, and like the Shield, worn by the passage of time. Glass is the perfect medium, because like the centre of our earth, it is made by fire.
In her latest suite of sculptures, “Prayer Series,” Frolic has begun to explore other aspects of her beloved and chosen material. “I have decided to go to the heart of the matter. Not the time scarred surface, but what is actually at the center..the fire itself, the glow, the lucidity, the essence. These pieces are my attempt to show the humbleness and gratefulness I feel when confronted with the majesty of the world. We are all awestruck, glorious beggars when confronted with the earth’s magnificence.”
The wall work “Sorrow: Kaddish” is one of her latest works in a fifteen year evolving exploration of the human condition and Frolic’s personal history as a Holocaust survivor that has grown along side of the sculptural work.
Frolic, a member of the group of Canadian glass artists known as ‘Ten North’, is former president of the Glass Art Association of Canada.
(From Glass Art Association of Canada website, 2010)