Published on the occasion of Liz Glynn's exhibition PATHOS (The Blind Exercises), September 12–October 10, 2015 at 529 West 21st Street. The series is comprised of discretely handcrafted clay masks portraying a breadth of dramatic expressions. In ancient Greek theater, the mask transformed the performer into a character. A single player could trade identities by switching masks, whose exaggerated features revealed the individual’s emotional state and internal psychology. Glynn’s masks echo the historical tradition of these objects of classical antiquity—an exercise that emerges throughout her work as a means to scrutinize contemporary society. Taking its title from the Aristotelian concept of pathos (a quality that appeals to the emotions of an audience and is essential in the art of argument), the series explores themes of artifice and authenticity in the politics of modern performance and persuasion.