#stateofglass

It was a glass hall decorated with Persian Flowers that first initiated me into the colourful world of Dale Chihuly's art back in 1998. So of course I could not resist this Persian set at V&A. 

What about the museum label?

Originally reminiscent of the tiny core-formed bottles of ancient Egypt and Persia, the 'Persians' series was begun in 1985. Since then Chihuly has developed the series into a range of different shapes, the outer ones often of enormous size.

Information panel.

Dale Chihuly (born 1941)

Deep Blue and Bronze Persian Set

1999

USA (Seattle)

I have always admired the glass sculptures of the Libenskys for their meditative quality and would classify their work as art for the intellectuals. This is why I agree wholeheartedly to the below label text from V&A:

'Glass allows us to create a harmony between shapes and penetrating light, and thus to define the essence of light-space and to touch the secrets of this inner space'. The present pre-eminence of Czech cast glass can largely be attributed to this husband-and-wife team. The Libenskys are among the few really major figures in modern glassmaking.

Information panel.

Stanislas Libensky (1921-2002) and Jaroslava Brychtova (born 1924)

Arcus 1

1991

Czech Republic (probably Pelechov glassworks)

The label accompanying each artwork in V&A's Glass Collection is highly descriptive and often illuminating. A fine example is this text for Zynsky's multi-coloured, filet de verre vessel:

'It's really like painting', says Zynsky. 'It's an identical thought process - the way you build up a painting or drawing. Then the other layers go on, really to hold together, so it's actually about 30 layers of thread. They are very solid, they look more fragile than they are.'

Information panel.

Toots Zynsky (born 1951)

Dondolante Serena

2000

USA (Providence, RI)

Venice is a maze of endless bridges and piazza and getting lost in the city is part of the fun.

This beautifully-coloured chandelier caught my eyes when I was searching for the alley that would lead me to Rialto. Unfortunately, I was in a rush for lunch and regretted not taking down the address of the shop.

(Re)Visiting some of my favourite glass shops in Venice.

From top to bottom:

Tobia Scarpa's Occhi (Venini)

Lucio Bubacco's Erotic (Pauly & C CVM)

Dusciana Bravura's Parrot (Berengo Studio)

A giant red squirrel dominates the exhibition space at Marta Klonowska's latest show in Venice. But let's not forget the forest-green, long-tailed monkey who looks ready to jump at the slightest noise.

Meekyoung Shin wrote in Stylist magazine that she was inspired to create a collection of soap vases "with a glass effect" after seeing some Parisian glass vases at Tate Britain,

By making a glass version of her soap copy of a glass vase, Shin effectively introduced a twist to her original concept of manufacturing images of permanence/luxury using transient/cheap material. Rather witty, I would say.

Ghost Series (2013)

Information on this exhibition.

Glasstress London

The Wallace Collection, London

I was quick to assume that this was art with a political message. However in his website, Hew Locke wrote: 

"The fragility of the glass suggests the fragility of real-life child soldiers. Venice is full of images of 'Blackamoors', from Renaissance and Medieval carvings on tombs, to the kitsch carvings and glass figurines of today's window displays." (X)

Not quite the artist's statement I was expecting but an impressive sculpture nevertheless.

Information panel.

Mummy's Little Soldier (2013)

90 x 30 x 35 cm

Glass and metal chain

Information on this exhibition.

Glasstress London

The Wallace Collection, London