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CONCERNING THE SPIRITUAL IN ART
Tuesday, August 24, 2010
Art and Spirituality; Wolfgang Laib
In Art and Today Eleanor Heartney speaks mostly of the relationship between art and spirituality being based around the representation of gods and of historical and present accounts and experiences of various religions. Be it a figurative representation of the God or event or more subtle or abstract representations. When looking at the work of Wolfgang Laib one might not initially interpret it as “spiritual”.
This is not to say Laibs work doesn’t at all relate to any organised religion or spirituality. There is evidence of Buddhism amongst others in his work and it is said that he draws on Kandinskian elements, concerning spirituality in art. Laibs’ work is obviously minimalist and the audience might have a sensuous relationship with it rather than an understanding of a direct narrative or concept.
Laib lives and breathes his craft. One could say he practices his art like religion and I believe this is why Heartney has included him in this particular segment of the book.
Laib advocates an art, which is primarily a mode of awakening the consciousness via the emotions.
The intensity of the colour in these works seems to balance the fragility and vulnerability. The sheer volume of intense hue in the rectangles is impressive and awe inspiring alone.
POLLEN
Laib lives in centre of the environment from where his materials originate. He spends several months collecting the pollen from various sources such as dandelion, pine, hazelnut and buttercups. He started this tradition in 1977 and continues today.
Its almost as if he is a worker bee for that duration when collecting the pollen. But as opposed to it being a labour of lively hood, it is a labour of spiritualty. The repetitive character of this activity gives the sense of a meditative practice.
MILKSTONES
Rectangular slabs of white marble are laboriously polished by the artist to create a 2mm deep impression on the upper surface. The ritualistic aspect of this work begins with Laib. He pours the milk into the impression until it is filled to the top and creates the illusion of a solid object. At the end of each showing, the milk must be removed, the stone carefully washed, dried and repolished in preparation for the next viewing.
Laibs’ work is produced as a spiritual practice and is intended to evoke spirituality in the viewer.
“Life, like art is fulfilled in this passage to consciousness, in this awakening, which allows us to participate in that which has gone before, that which will survive and that which goes beyond us¬¬”.
This is not to say Laibs work doesn’t at all relate to any organised religion or spirituality. There is evidence of Buddhism amongst others in his work and it is said that he draws on Kandinskian elements, concerning spirituality in art. Laibs’ work is obviously minimalist and the audience might have a sensuous relationship with it rather than an understanding of a direct narrative or concept.
Laib lives and breathes his craft. One could say he practices his art like religion and I believe this is why Heartney has included him in this particular segment of the book.
Laib advocates an art, which is primarily a mode of awakening the consciousness via the emotions.
The intensity of the colour in these works seems to balance the fragility and vulnerability. The sheer volume of intense hue in the rectangles is impressive and awe inspiring alone.
POLLEN
Laib lives in centre of the environment from where his materials originate. He spends several months collecting the pollen from various sources such as dandelion, pine, hazelnut and buttercups. He started this tradition in 1977 and continues today.
Its almost as if he is a worker bee for that duration when collecting the pollen. But as opposed to it being a labour of lively hood, it is a labour of spiritualty. The repetitive character of this activity gives the sense of a meditative practice.
MILKSTONES
Rectangular slabs of white marble are laboriously polished by the artist to create a 2mm deep impression on the upper surface. The ritualistic aspect of this work begins with Laib. He pours the milk into the impression until it is filled to the top and creates the illusion of a solid object. At the end of each showing, the milk must be removed, the stone carefully washed, dried and repolished in preparation for the next viewing.
Laibs’ work is produced as a spiritual practice and is intended to evoke spirituality in the viewer.
“Life, like art is fulfilled in this passage to consciousness, in this awakening, which allows us to participate in that which has gone before, that which will survive and that which goes beyond us¬¬”.
ART & SPIRITUALITY
From what I can disseminate; they seem to be a german art collective based around what I consider to be quite challenging ideas of artistic practice, expression, display, lady dar et al even by todays generally held ideas of the art world.
They work in weird area's, you can buy shares in they're company, which sort of makes you a patron, you can "download"
works, you can get involved in the way the corporation (etoy.CORPORATION) is run.
They are very strange, inclusive and ardent in the way they run things, they are for spreading knowledge/content and also strong believers in intellectual property rights, however they have a different form of DRM than traditional new media peeps. They're ideas on (and I use DSM as example) on the way they protect their digital artworks is just as important it seems as the works themselves, they seem to believe (and I have faith) that they have realised the utopian future the online space, how we interact, send and deal with data.
Is this the future, or are they just cashed up matrix fanboys?
Art & Spirituality: Rodney Glick
Everyone No. 53, Rodney Glick. Wood. 2009.
This work is a reinterpretation of traditional Hindu idols. This particular figure is a modern version of the god Brahma, the creator of the universe. Brahma is usually seen with four heads, but No. 53 has one removed. He holds his head in one hand, a book in the other "the league of gods", and prays with the remaining hands. The use of modern (80's) clothing shows relevence of the figures symbolism in contemporary society. It is a confronting work. It makes the viewer wonder "who would pray to this leather-clad god?"
Art & Spirituality - Podger and Gyatso
I had initially thought to mention the works by Gonkar Gyatso, after seeing the two displayed at the MCA for the sydney biennale. Then I remembered that the artworks should relate to a sculptural practice. I'm mentioning his works anyway because I just enjoyed them so much. He creates large collages using a wide variety of stickers, and ink. As a Tibetan contemporary artist it is unsurprising that his work deals with the complex issues regarding politics and religion in a globalised world.
I really admire his works. That have that wonderful layering effect that makes you see the larger picture, then think again when you reealise what its made up of. In this case, made from the brightly coloured stickers of pop culture icons, animals, religious symbols and various seemingly random selections.
I'd reccommend giving his work a look.
http://www.bos17.com/biennale/artist/46
However, for sculptural spirituality I have observed the 2008 artwork(s) for sculpture by the sea by Kath Podger (who apparently is a member of the National Spiritual Assembly of Australia). Her works are entitled Revelation II–Transformation, Revelation II–Evolution and
Revelation II-Strata. These are tower sculptures of porcelain, standing among the wind and water-weathered rocks at Bondi.
It creates a beautiful image. The porcelain pieces look like shards of broken shells, and so seem very much in sync with the environment. The space itself, although untouched by human endeavours is so prefectly shaped it could almost have been created by people.
She has read a religious meaning/metaphor into this environment that is reflected in her work.
"As time passes, religion's golden veins are made known, like the new layers of rock exposed after thousands of years.." Podger said of the work.
She is a believer in the Bahá’í Faith. I'm having trouble finding what they believe.
http://www.zimbio.com/pictures/7_ZCnoPkLxf/2008+Sculpture+Sea+Launches+Sydney/tbBr9txbgAX/Kath+Podger
^nice pictures.
http://www.bahai.org.au/scripts/WebObjects.exe/BNO.woa/wa/pages?page=news_and_media/recent_news/sculptor.html
^info on the work
I really admire his works. That have that wonderful layering effect that makes you see the larger picture, then think again when you reealise what its made up of. In this case, made from the brightly coloured stickers of pop culture icons, animals, religious symbols and various seemingly random selections.
I'd reccommend giving his work a look.
http://www.bos17.com/biennale/artist/46
However, for sculptural spirituality I have observed the 2008 artwork(s) for sculpture by the sea by Kath Podger (who apparently is a member of the National Spiritual Assembly of Australia). Her works are entitled Revelation II–Transformation, Revelation II–Evolution and
Revelation II-Strata. These are tower sculptures of porcelain, standing among the wind and water-weathered rocks at Bondi.
It creates a beautiful image. The porcelain pieces look like shards of broken shells, and so seem very much in sync with the environment. The space itself, although untouched by human endeavours is so prefectly shaped it could almost have been created by people.
She has read a religious meaning/metaphor into this environment that is reflected in her work.
"As time passes, religion's golden veins are made known, like the new layers of rock exposed after thousands of years.." Podger said of the work.
She is a believer in the Bahá’í Faith. I'm having trouble finding what they believe.
http://www.zimbio.com/pictures/7_ZCnoPkLxf/2008+Sculpture+Sea+Launches+Sydney/tbBr9txbgAX/Kath+Podger
^nice pictures.
http://www.bahai.org.au/scripts/WebObjects.exe/BNO.woa/wa/pages?page=news_and_media/recent_news/sculptor.html
^info on the work
Monday, August 23, 2010
heya
i have talked to most of you guys about it -
at my place tomorrow (wed 25th aug)
after uni, and possibly after 1st year exhibition.
crash for the night, or just for some(many) drinks.
"go wild" and get some SPI thing spiced up
I WILL BE EXPECTING YOU.
0423 376 073
at my place tomorrow (wed 25th aug)
after uni, and possibly after 1st year exhibition.
crash for the night, or just for some(many) drinks.
"go wild" and get some SPI thing spiced up
I WILL BE EXPECTING YOU.
0423 376 073
Art and Identity
Anna Mendieta.
(American, born Cuba 1948–1985)
Using different forms, methods from sculpture, performance, installation she inserts her figure within the process of her artmaking. She demonstrates her own identity representing the subject’s areas that appeal to her defining the meaning of her works.
Displaying herself with nature is a process of her performance work titled ‘earth body art’. She used her own body to explore the past, the present as she was interested in cultural identity and gender. The idea and process of presenting herself was her intention of conveying her practice and identity to the media.
(American, born Cuba 1948–1985)
Using different forms, methods from sculpture, performance, installation she inserts her figure within the process of her artmaking. She demonstrates her own identity representing the subject’s areas that appeal to her defining the meaning of her works.
Displaying herself with nature is a process of her performance work titled ‘earth body art’. She used her own body to explore the past, the present as she was interested in cultural identity and gender. The idea and process of presenting herself was her intention of conveying her practice and identity to the media.
Untitled (Grass on Woman), 1972
Sunday, August 22, 2010
Art and Spirituality- Andres Serrano
Andres Serranopiss christ, 1987
Piss christ is a photograph of a crucifix immersed in the artists urine. The work was seen as a mockery of christianity and become the centre in a political controversy over government funding in the arts as Serrano was issued a $15000 grant for the work, part of which was tax-payer funded. The work also caused an outrage in the public and religious extremists; the artist receieved hate mail, death threats and lost future grants as a result of the controversy. The work was also vandalised at the national gallery of victoria, Australia. Supporters argued the controversy over piss christ was an issue of artistic freedom and freedom of speech.
Art and identity- Yasumasa Morimura
Futago,1988- colour photograph
Morimura appropriates Edouard Manet's 'Olympia' and places himself as both the nude olympia and the black maid, assuming new personas whilst crossing racial and gender lines. There are subtle changes in his photograph such as the addition of the japenese fabrics on the courtesans bed and the replacement of manet's feline with a black ceramic cat, in which japenese businesses used to welcome visitors.
Morimuras has used manet's famous respresentation of wetsern culteral traditon and appropriated the image in relation to his own culteral identity and growing up in post war japan-influenced by the images and products of american popular culture.
This Is Oz: Speak up for an inclusive Australia.
Sir Ian McKellen, this is his contribution to the website.
I came across this campaign recently, it was started by a number of anti-homophobic organisations, the main one being ACON (AIDS council of NSW).
It's goal is to fight against homophobia and intolerance and to work towards acceptance and equality for Gay, Lesbian, Bisexual and Transgendered people.
They describe themselves as part Art project, part human rights campaign and I thought it might be fun to do something for it, as a class.
They are asking people to put up photos on their website, of themselves holding anti-homophobic slogans/messages. Lots of celebrities and large organisations are getting involved as well. It's all about creating awareness. As art students I'm sure we could manage something creative.
This is the site:
http://www.thisisoz.com.au/
So, whose up for it?
-Issy.
Saturday, August 21, 2010
Art & Identity- Momoyo Torimitsu
Miyata Jira performance paris, 2000. 
Miyata Jira performance New York, 1997.Momoyo Torimitsu was born in Tokyo, Japan in 1967. "I was born in Japan during the period of high economic growth in a suburb of Tokyo. Most of my work had tried to reflect the effect of capitalism in our daily life."- Momoyo Torimitsu, www.momoyotorimitsu.com
Torimitsu's work Miyata Jira is a performance piece that involves Torimitsu; dressed in a nurses outfit; helping a robot dressed as a businessman, crawl along the busy streets of cities including New York and Paris.
"The work was a statement on the predicament of the post-1960s economic boom, when individual identity became subsumed into a uniform collective. The artist takes general themes highlighted by Japanese culture and comments on the difficulties experienced when a society is so over stimulated by commerce and fantasy that common values and reality are overlooked."-Installation art in the new millennium:The empire of the senses, The body of audience.
Art & The Body- Vanessa Beecroft
VB46.017.dr
VB46.001.dr
VB45.9005.aliVanessa Beecroft is a Italain artist who uses naked women as a medium in her art. Her works are not described as performances; they are living sculptures. The women are all dressed in a similar ways as if they where clones of each other. Beecroft's works can be categorised in art and the body because she is using the human body as a medium for her work; by using this medium and dressing all the women in a similar way makes a statement on how the female body is seen in today's media. That it is photo-shopped, changed and the same 'type' of model is used in the media every day. By viewing Beecrofts work you are confronted with these issues and forced to see the 'real' or the world.
"Standing before the public like living pictures, these set-ups are not performances; the figures do not move, they only take up a position. Derived from media images of commodified beauty, these ensembles suspend human communication, emasculating the charm of the erotic interplay." - Installation art in the new millennium:The empire of the senses, The body of the audience.
http://www.vanessabeecroft.com/frameset.html
i have chosen
Joyce Kozloff as the artist for which to present in my presentation on Art and Globalisation.
D.
D.
Friday, August 20, 2010
Art and Spirituality: Mariko Mori
For the thematic area Art and Spirituality I have chosen to research Japanese artist Mariko Mori.
Her work embodies a vision of contemporary spirituality, which fuses high-technology with Japanese religious tradition. It exemplifies the optimistic sense of interconnectedness that the advancement of global communications and technologies has brought about and covers a number of the salient features of the thematic area; her work is at once an exploration of cultural identity, a genuine personal spiritual quest, and an attempt to affect her audience into altered states of consciousness.
In Wave UFO 1999-2002, viewers enter an alien vessel 3 at a time and are hooked up to brainwave monitoring electrodes which generate a light-show from their biofeedback. This is the psychic world of cyberspace and offers its audience an immersive and visually ethereal spectacle, inviting them to momentarily transcend the mundane in much the same way traditional temples and churches do.
Wave UFO 1999-2002, fiberglass, resin, 34 feet long x 17 feet wide x 14 feet.
"Miko no Inori" or the Shaman-Girl’s Prayer 1996, is another of Mori's periodic self-transformations. Shape-shifting into a silver-eyed, silver-haired visionary, Mori dances with a crystal ball to a haunting Japanese song. In Mori's fantasy it is the cyborg which has access to the world of spirit and the unknown, her pearlescent machinic breast plates implying transcendence of the flesh through the purity of the machine.
Miko no Inori (The Shaman-Girl’s Prayer) 1996, video still.
Check out the video on youtube: http://www.youtube.com/watch?v=Bwl6G9L6bk8
Mori’s "Enlightenment Capsule" equips the imagined meditator with everything necessary on their quest for enlightenment, including a system of natural light filtration which removes ultraviolet and infrared radiation. No surprises if this reads like a sales line, the paradoxical nature of this material path to the immaterial, embedded in plexiglass-kitsch, is absolutely apparent. In fact it is a hallmark of Mori’s new religious iconography which forces us to reassess our perceptions of spirituality in light of the increasing technological augmentation of reality in contemporary society.
“Enlightenment Capsule” 1998, optic fibre cables, glass, aprox 150 by 100 cm.
Mori renews our visions of the sacred, questioning the progress of spirituality within our contemporary context right at its interface with technology. Is it technological advancement which will allow us to transcend the flesh and connect with higher consciousness?
Bibliography
Baas, J. and Jacob, M.J. (eds.) "Buddha Mind in Contemporary Art" University of California Press, Berkeley, 2004.
Cotter,H. "Drawing on a Rich Lode of Shinto-Buddhist Culture; In Brooklyn, a mix of adolescent fantasy, fashion and narcissicism." New York Times, Apr 16, 1999. p. E33 [accessed online: http://www.library.usyd.edu.au/]
Eliel, C.S., "Interpreting Tradition: Mariko Mori’s Nirvana" in Moriko Mori, Museum of Contemporary Art, Chicago Distributed Art Publishers Inc., New York, 1999, p.27-31.
Molon, D., Countdown to Ectasy in Moriko Mori Museum of Contemporary Art, Chicago Distributed Art Publishers Inc., New York, 1999, p.1-16.
http://www.galerieperrotin.com/artiste-Mariko_Mori-6.html [accessed: 20/08/10]
Her work embodies a vision of contemporary spirituality, which fuses high-technology with Japanese religious tradition. It exemplifies the optimistic sense of interconnectedness that the advancement of global communications and technologies has brought about and covers a number of the salient features of the thematic area; her work is at once an exploration of cultural identity, a genuine personal spiritual quest, and an attempt to affect her audience into altered states of consciousness.
In Wave UFO 1999-2002, viewers enter an alien vessel 3 at a time and are hooked up to brainwave monitoring electrodes which generate a light-show from their biofeedback. This is the psychic world of cyberspace and offers its audience an immersive and visually ethereal spectacle, inviting them to momentarily transcend the mundane in much the same way traditional temples and churches do.
Wave UFO 1999-2002, fiberglass, resin, 34 feet long x 17 feet wide x 14 feet.
"Miko no Inori" or the Shaman-Girl’s Prayer 1996, is another of Mori's periodic self-transformations. Shape-shifting into a silver-eyed, silver-haired visionary, Mori dances with a crystal ball to a haunting Japanese song. In Mori's fantasy it is the cyborg which has access to the world of spirit and the unknown, her pearlescent machinic breast plates implying transcendence of the flesh through the purity of the machine.
Miko no Inori (The Shaman-Girl’s Prayer) 1996, video still.
Check out the video on youtube: http://www.youtube.com/watch?v=Bwl6G9L6bk8
Mori’s "Enlightenment Capsule" equips the imagined meditator with everything necessary on their quest for enlightenment, including a system of natural light filtration which removes ultraviolet and infrared radiation. No surprises if this reads like a sales line, the paradoxical nature of this material path to the immaterial, embedded in plexiglass-kitsch, is absolutely apparent. In fact it is a hallmark of Mori’s new religious iconography which forces us to reassess our perceptions of spirituality in light of the increasing technological augmentation of reality in contemporary society.
“Enlightenment Capsule” 1998, optic fibre cables, glass, aprox 150 by 100 cm.
Mori renews our visions of the sacred, questioning the progress of spirituality within our contemporary context right at its interface with technology. Is it technological advancement which will allow us to transcend the flesh and connect with higher consciousness?
Bibliography
Baas, J. and Jacob, M.J. (eds.) "Buddha Mind in Contemporary Art" University of California Press, Berkeley, 2004.
Cotter,H. "Drawing on a Rich Lode of Shinto-Buddhist Culture; In Brooklyn, a mix of adolescent fantasy, fashion and narcissicism." New York Times, Apr 16, 1999. p. E33 [accessed online: http://www.library.usyd.edu.au/]
Eliel, C.S., "Interpreting Tradition: Mariko Mori’s Nirvana" in Moriko Mori, Museum of Contemporary Art, Chicago Distributed Art Publishers Inc., New York, 1999, p.27-31.
Molon, D., Countdown to Ectasy in Moriko Mori Museum of Contemporary Art, Chicago Distributed Art Publishers Inc., New York, 1999, p.1-16.
http://www.galerieperrotin.com/artiste-Mariko_Mori-6.html [accessed: 20/08/10]
Wednesday, August 18, 2010
Presentation - Globalisation
For people doing Art and Globalisation, I've picked Yukinori Yanagi.
Just to let you know so we don't overlap.
Thanks :)
Just to let you know so we don't overlap.
Thanks :)
ARTSPACE - 18 Aug
Hi All,
I trust you are all looking forward to our ARTSPACE expedition !
It is not hard to get there... please LOOK AT THE WEBSITE TO CHECK YOUR DIRECTIONS>>>
http://www.artspace.org.au/about_access.php
I cannot stress how important it s to READ THE GUIDELINES (this means directions in this context).
You should all have read through the course outline by now - if you have not yet - please do.
Email me if you have specific enquiries about next wednesday.
Oh and enjoy the weekend!
A.
I trust you are all looking forward to our ARTSPACE expedition !
It is not hard to get there... please LOOK AT THE WEBSITE TO CHECK YOUR DIRECTIONS>>>
http://www.artspace.org.au/about_access.php
I cannot stress how important it s to READ THE GUIDELINES (this means directions in this context).
You should all have read through the course outline by now - if you have not yet - please do.
Email me if you have specific enquiries about next wednesday.
Oh and enjoy the weekend!
A.
Monday, August 16, 2010
I for Identity 1st and Art. me 1st and Art 2nd.
Artist at the beginning and everything else ripples out, things like social and cultural critique from the point of view of the self.
Subcultures as well as stereotypes now exist in cyberspace. I wonder what the view of earth from cyberspace looks like? This is going to lead to the inevitable to the rise of global identities that include multiple, symbolic and fractured identities that are non racial. Then there are the trans human and post human issues to be dealt with- discussions about the ethical dilemmas have already begun. Bring it on!
Art & Identity - Jemima Wyman
Jemima Wyman, Combat Drag, 2008 (production still), video, 8:06 mins. 
JEMIMA WYMAN- COMBAT DRAG: LESSONS IN UNLIMITED EXPANSION
Combat Drag, 2008, DVD, (Production still)
Jemima Wyman is a current video and performance artist and also creates vibrant canvases. In the 17th Biennale of Sydney, her work Combat Drag (2008) was exhibited addressing the idea of camouflage and disguise - an interesting take on the theme of identity; of hiding behind a facade or a pretense. This topic closely relates to the body in all its physical stature, mental perception of the self and from others. The body is often used as the object, sometimes also the subject, a least in the sense connotations attached to a particular 'identity' or a visual recognition create. Wyman, in this work, looks particularly looks at identity in a consumeristic society, by using head coverings of brightly coloured flannelette material, with painted on features. She fuses the conflict present in the world today with the world of fashion, with the notion of collective identities and individuals through the use of the masks.
http://www.bos17.com/biennale/artist/122
http://www.milanigallery.com.au/artist/jemima-wyman
Sunday, August 15, 2010
art and spirituality - yin yang
Brian Chessmar - yin yang
jud turner - spring/sprang
robert arneson (1930-1992, usa) - egg heads 
volkswagon beetles - yin yang"in chinese tradition, the yin-yang symbol represents the contrasting pairs of attributes associated with femaleness and maleness" www.buddhismtaoism.suit101.com/article.cfm/what-is-the-meaning-of-yin-yang-symbol
the different interpretation of the same subject quite interests me. how we can be so different in the way we think, feel, understand and express. and also the intercultural issues. traditional chinese philosophy yin-yang have become almost a global understanding of harmony and balance.
art and identity - daniel edwards
presidential bust of hillary rodham clinton, 2006Daniel Edwards (b. 1965, Indiana) is a controversial sculptor who often stirs up media with his celebrity depiction and criticism. his subjects includes britany spears giving birth, paris hilton autopsy, nadya suleman (octomum) and her babies, and hillary clinton and her low-cut dress.
According to CBC NEWS (www.cbc.ca/arts/story/2006/08/10/clinton-sculpture-bust.html) 'Edward has said that his intent was to show the 59 years old New York senator "not as a covered up person, but as a woman".'
casted in a classic style of portrait sculpture, to me, clinton seem to have the traditional emotion-less facial expression. Edward, however, describes "with her head held high, a youthful spirit and a face matured by wisdom". the supporting stone marked with the mimic of presidential seal shows that this is not just any portrait sculpture but a political one. clinton, with her sexual powers, pursuing for a turn in american presidency. i find the purpose of this work, and in most of Daniel Edward's work, quite ironic yet true to reality.
Art and Identity - Anne and Patrick Poirier
Il sangue della memoria1999
On extreme fragility
On extreme fragility2004
Anne and Patrick Poirier are a french couple who base their work on an interest in mythology, architecture and archaeology. They take inspiration from the ruins of Rome saying they are interested in the 'gaze' that has been preserved in the stony eyes of roman statues for over two thousand years. Their installations and sculptures connect the past and present, creating a dialog between the two and show a collective identity of Italian culture and of other cultures. 'La morte di ephialtes' is dedicated to the victims of the genocide in Cambodia, another example of this feeling of a collective identity. 'On extreme fragility' is a homage to Blaschka, a master glass blower charged by a 19th century botanist to reproduce, in the form of glass models, the entire flora of North America which took his entire life to complete and was continued by his son when he died. Similarly to the first work 'One extreme fragility' gives a greater voice to someones experience. What interested the Poiriers was the fragility of the glass flowers which they reproduced. As they put it: "At any given moment, in any given life, all can be jostled, shattered, made to disappear. History, as well as our personal histories, cruelly evidence. How explore, how represent such fragility?"
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