OUTCAST STUDIOS CHEMICAL LANDSCAPE GHOST MIRROR L40" x H20"
OUTCAST STUDIOS
Gregory Nangle began using ĂglomisĂ© in 2001 to make a series of sculptures relating to literary works he was studying at the time. Eugene OâNeill in his famous âLong Days Journey Into Nightâ employed the backdrop of âFogâ as a literary device dealing with themes like uncertainty, identity, perception, and obfuscation. Gregory saw many parallels in the process and use of mirrors.Â
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OUTCAST STUDIOS CHEMICAL LANDSCAPE GHOST MIRROR L40" x H20"
OUTCAST STUDIOS CHEMICAL LANDSCAPE GHOST MIRROR L40" x H20"
OUTCAST STUDIOS
Gregory Nangle began using ĂglomisĂ© in 2001 to make a series of sculptures relating to literary works he was studying at the time. Eugene OâNeill in his famous âLong Days Journey Into Nightâ employed the backdrop of âFogâ as a literary device dealing with themes like uncertainty, identity, perception, and obfuscation. Gregory saw many parallels in the process and use of mirrors.Â
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OUTCAST STUDIOS
Gregory Nangle began using ĂglomisĂ© in 2001 to make a series of sculptures relating to literary works he was studying at the time. Eugene OâNeill in his famous âLong Days Journey Into Nightâ employed the backdrop of âFogâ as a literary device dealing with themes like uncertainty, identity, perception, and obfuscation. Gregory saw many parallels in the process and use of mirrors.Â
