Mourning Lace (2013), Collection, Museo del Vetro, Murano
Kiln formed glass, 28.5 cm x 33 cm x .5 cm
'Mourning Lace' explores loss; specifically the loss or separation or end of a romantic love. Throughout the years and in vast amounts of literature, poetry, music, and film, romantic love is a storied concept: idyllic, idealised, and fairytale. But love, like glass, is as fragile as it is strong. In 'Mourning Lace', I examine the handkerchief (a loaded, symbolic object and token of romantic love) as also a vessel for our emotions. I suggest in this work, with the play between the delicate glass and intricate patterning and boldness of the black mourning colour, that loss can be quite beautiful and revealing in terms of desire and memory. Technically-speaking, my hope was to combine the two European craft traditions of glass and lace in this work. This piece was a finalist in the European Glass Experience and traveled to Spain (2014) and Italy (2015) for exhibition. (Images: Lisa Naas)
Kiln formed glass, 10cm x 28cm x 29cm
'Incidentally' was inspired by dialogue with composer David Faleris about the lifecycle of a romance. We questioned: how can a love 'colour' a life? The object visually interprets a relationship lifecycle using the storied motif of a woman’s lace handkerchief and its the four corners to express phases. This piece was exhibited at the International Glass Art Biennial in 2014 in Belgium.
Painted Veil (2014)
Kiln formed glass, 11cm x 15cm x 2mm
'Painted Veil' offers my thoughts on the veiled memories we can have. I put this particular piece through a series of firings to reach its current, collapsed, lacey state. It holds a vague memory of the process and of the object over which it once draped. The painterly, wispy glass references the impressionistic, temporal quality of memory. 'Painted Veil' was exhibited at Glasshaus XI, juried exhibition, presented by Parndon Mill Gallery, England, 2016.