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This is one of four glass wall sculptures originally designed for a solo show at CAA in 2011, Drawing Near the Light. For the show Kate Maestri created a collection of glass wall sculptures inspired by William Morris’ summerhouse and garden, Kelmscott Manor.
All the artworks were made using sandblasted Perspex and Lamberts stained glass. The stained glass has been bonded on to the Perspex structure allowing for the colour to appear to ‘float in space’ without any visible framework.
Lamberts Glass is mouth blown stained glass, traditionally used in church windows. The sculpture combines this traditional material with modern industrial production and technics to reflect the possibilities of contemporary stained glass within the 21st Century.
The exhibition was curated by Pete Collard for CAA Pete Collard for CAA 2011
“Perhaps no Englishman, apart from the owners of truly ancestral homes, had ever felt such passionate attachment to a building” Fiona MacCarthy, William Morris A Life of Our Time
“For the London Design Festival 2011 CAA will presented a contemporary response by the architectural glass artist Kate Maestri to the relationship between William Morris and Kelmscott Manor, his home for 25 years.
The work consider ed the influence of the house and its gardens on Morris, Marshall, Faulkner & Co, his interior design company founded 150 years ago in 1861.
For the exhibition Maestri considered the range of visual stimuli that the house and its garden evoke, producing a series of sculptural glass pieces that contrast the simplicity of the architectural interior with the rich organic tapestry of plants growing outside. Selecting a colour palette that responds to the contrasting forms and tones of light and shade found within the house and its grounds, the work individually and collectively evoked the spirit of Kelmscott Manor in an experiential fashion. Morris’ company, later renamed Morris & Co, still produces wallpapers and fabrics designed during the years the designer spent at Kelmscott Manor, inspired by its idyllic setting and tranquility. Built around 1600 the house was central to Morris’ relationship with the natural world and its influence on both his artistic output and philosophy was profound.” – Pete Collard, Contemporary design curator