Pacific Northwest College of Art

Chandra Glaeseman has always had a close connection to the landscape, but it has only been within the last five years that she started to consider herself a "landscape artist". 

Glaeseman grew up in Northern Wyoming and studied art and English at a small liberal arts college in Eastern Nebraska. The vast expanses of both groomed and wild land established an early love for space and a comfort in the horizon. In 2001 she moved to Portland, Maine, the top of the I-95 corridor, and marked the first time her landscape abutted the ocean. In 2004 Glaeseman entered Maine College of Art in order to add the "F" to her BA degree. While at MECA, Glaeseman's sculptural work took on a heavy performative quality and interrogated the body's relationship to its surroundings. She graduated from MECA with high honors in 2006. 

In the fall of 2006 entered her graduate studies at Rhode Island School of Design where she was also the student liaison for the Sculpture Department's Visiting Artist program. In 2007 she was granted a six-week long residency in Chiaverano, Italy where she studied under Marguerite Kahrl. In 2008 she was a finalist for the Joan Mitchell graduate student nominees, a Sculpture Magazine Outstanding Student award winner and the recipient of Rhode Island School of Design's Award of Excellence, juried by Ian Berry of the Tang Museum. She graduated at the top of her class in 2008. 

In 2009 Glaeseman spent four months working on grant awarded to her by the Maine Arts Commission and also taught at Hastings College and the University of Nebraska. 

Glaeseman moved to Portland, Oregon in 2010 and teaches at Pacific Northwest College of Art. She has shown nationally and is represented by Michael Steinberg Gallery and Tompkins Project, both of New York City. 

Glaeseman's work has evolved from a quiet appreciation of the horizon into using the landscape as a direct metaphor for existence. In a recent article she writes: 

"I am questioning a multi-faceted and pluralistic system of ideas. The systems are historical, environmental, social and sculptural. I employ sculpture as a device; resonant in materiality and providing a platform for multiple points of view, capable of inventive self-reflection. Skeptical, yet playful and hopeful, my work presents a renewal of resources by using material scavenged and gleaned. The process of transformation- from non-commodity into commodity- often highlights the fragility of the object's structural quality and lends itself to questioning its own internal hierarchy.