Metamorphosis fascinates and informs me. In both personal and global spheres, the transformations of life—psychological, biological, chemical—profoundly influence my work. Over time, my art has gone from quiet and reflective organic forms in pink encaustic or white plaster, to authoritative, vividly colored cut-out paintings and metal sculptures. Starting from within and responding to environmental and personal change, my work explores recognized symbols that bridge private interiors and social realities. The Quantum Confetti series references physical properties that form the undercurrents of life. They capture the constancy of movement, of attraction and repulsion, which echoes a personal struggle to persevere. They also reflect a moment of transition, the fork in the road, with both possibilities in view. For example, responding to or ignoring climate change. The geometric and the organic is a playful variation on lines and curves. An outline of a solid form creates a tension between the described interior and open exterior space. Colorful geometric planes—circles, rectangles—gather and adhere or break apart and repel—suggesting a magnetic push-pull within the structure. Each boldly colored fragment is inexorably drawn into a structure and—against their will? because of their will?—they become something, a reflection of the primordial forces of gravity that draw chaos together and make it possible for Being to be. The dichotomy of form coalesces into single elements in the Around Corners series. This work explores the metaphoric importance of a frame. Here, frames subtly push away from the wall, presenting the potential within and beyond their space. Within the studio, frames represent both the defined and the infinite. They symbolize the artistic process itself—beginning with the familiar, ending with the new. And outside the studio, the work prompts the viewer to navigate the interior and negotiate along the exterior, a subtle reflection of how we encounter the world. Wheeled elements energetically traverse its edge or interior, adding narrative complexity to the tableau. In all, delicacy, elegance, and strength are displayed in an economy of form. Possibility poises above actuality, just as in life we tread the line before taking the step, or hesitate before turning the page.
Miriam Ancis has an MFA in sculpture from the Parsons School of Design, received rabbinic ordination from the Hebrew Union College, and a BA from UC Berkeley. She has had solo and group shows in NYC, Los Angeles and France.