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An immense amount of crates travel all over the world each day. Things are packed and unpacked, into larger and smaller units. A logistical machine that drains the Earth. Relocation. Systematisation. Organizing. Doubt. What and where?
I have been interested in the feelings that crates with different sizes and shapes arouse in us: removal crate, casket, trunk, ballot box, display cabinet, shoe box, jewellery casket, etc. Enticing? Dangerous? Exciting? They can either hide something horrible or something wonderful.
The more finitely and securely the crates are closed, the more forcefully does the encased want to emerge. A system appealing to transparency might not be translucent. Something important will forever be hidden in reflections or obscure corners. We see deformations, desires and self-reflections.
The most compelling segment of these case studies is associated with space, light, and glass, at the intersection of ethics and aesthetics.
I studied glass art in Estonian Academy of Arts in 1990–1996. I have been working for the Department of Glass Art at the Estonian Academy of Arts as a teacher and technician, from 2003 to 2017 as an associate professor. I have taken part in several exhibitions, conferences, symposiums and workshops since 1994 both in Estonia and abroad. I have earned attention at several international contests of glass art. My works are owned by several institutions and collectors. Today I work as a freelancer in Tallinn, Estonia.
Tiina Sarapu – glass artist with a bold vision, her installations and sculptures place glass in the role of clearly organised space or emptiness, not merely reducing it to its material characteristics. (Cultural Endowment of Estonia)
Often the ordinary and visible present becomes vague and forgotten. Analogue experiences have boiled down to a minimum during the last years. We are currently in a situation where much of our regular rhythm was interrupted, the everyday was frozen and almost disappeared for a while. It became particularly evident how the environment we are functioning in, what we have or possess, matters. Layers of the past provide a means to describe the world and rethink the evident. Remembering and untangling the past and the local provides a captivating perspective through types of objects, materials, and methods of making.
The Estonian collection, “Revisiting the Past”, is based on tracking the everyday and the conventional, translating observations, reconsiderations, and hints of the past into contemporary design. More than ever, the future is about rethinking the present and the past, of what we have and need. The past is heavily coded in our future.
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