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Broken Hearts are for assholes. This is the title of a new series of glassblowing sculptures developed at S12 Center for Contemporary Glass in Bergen municipality in Norway.
I hated the glass. This feeling comes from a traumatic accident in my youth. From there, I got so fascinated with the material and possibilities. That was the start of a research residency at the S12 workshop. The research took me to continue to search for a harmonious relationship with glass. But also to learn values, conditions, and possibilities. Can glass be a tool for healing? And does when color becomes a collaborator? The answer is a colorful assembly of love, fear, and discovery.
There are two definitions of the term “art therapy”. The British Association of Art defines art therapy as a form of psychotherapy that uses art media as its primary modes of expression and communication. In this project, glass has the function as both a healing material and therapy—the immediate access to a complete workshop. The safety of a professional environment gives power and encouragement.
The project focuses on color study, the understanding, and experimenting of glass-color in composition and relation with form and shapes. Mapping the use of glass in the field of Art. It is a direct relation to art-making, craftsmanship, production, and design.
22x12x27
1
Blown Glass, horsehair, Metal
2020
Blue, Purple
The body of work in this collection consists of pieces by Greek designers of the mainland and the diaspora, or international professionals who live and work in Greece. As a common theme we tackle the elusive notion of “Greekness” and how this transpires through the work of seemingly diverse and distinct individuals. In our attempt to define “Greekness”, we aim to raise questions about how this plays out in the work presented. How do Greek designers view their identity? Is it through their effort to decipher their heavy heritage? Is form important in order to achieve a predisposed classic elegance, or is a philosophical disposition towards shape more poignant? Could it be simply a resourcefulness and DIY ethic to make up for the absence of design infrastructure? How do Greek designers based abroad deal with their background? Could it be that they simply ignore it in order to finally free themselves? Is there a certain amount of innovation necessary in order to channel it into the new environment? Finally, how do foreign designers see their work influenced by their Greek surroundings? Is it the reference through the use of noble materials such as marble or the abundance of natural light that makes their work unquestionably Greek? Or could it be something else they were seeking when they decided to move here, something abstract like humour or drama? Could their arrival finally mean a departure from Greek heritage’s self-reference? The pieces that we present might seem ill-matched, but they share an important core element. They are confident in their narrative of a personal story of identity, that is either at peace or against the Greek archetype. Through this communication, they all describe a culturally mature and vibrant scene that is finally extroverted and coming of age.
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