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Works

05_a

Movement Study {Tornado}: Stick figure B

Exploring form whose density and volume are determined by the speed and duration of light, participants wear neon glass accessories and choreograph short sequences of movements. Resulting in “Light Objects”. 
The artwork exhibits as large format digital prints accompanied by a video of the performative gesture.
 
Year: 2023
Dimensions: Apparatus fits szs. 2-6 of a human body.
Media: Phosphorous-coated lead-free glass, Argon + Mercury gas, custom electronics, wearer.
 
 
The photographic image from movements of Bronte Cormican-Jones, the neon glass wearer.
 
 
 
 

Process of making the photographic image. Video Credit : Anju

2023_movement study 3 stick figure A

Movement Studies (various) : Stick figure A

Exploring form whose density and volume are determined by the speed and duration of light, participants wear neon glass accessories and choreograph short sequences of movements. The goal is to generate a multitude of “Light Objects” that are crowd-created by those who encounter the suit in shared spaces.

 
Year: 2023
Dimensions: Apparatus fits szs. 4-10 of a human body
Media: Lead-free glass, Argon + Mercury gas, custom electronics, wearer.
 
 
Three ghostly dancing figures generated from Olivia Curtis’ movements during a 20 second exposure.
 
 
 
 

Various stagings in the neon suit. Credit : Morgan Gilbreath, Anjali Srinivasan
40_a

Jewelry based on the sheesh Mahal

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Embodying the optical phenomenon witnessed in the Sheesh Mahal, a lost craft tradition from the South Asian subcontinent, these works are composed of reflective convex glass mosaics in the metallic colors of silver, gold and copper. Their surfaces gather, absorb and scatter that which surrounds and moves around the wearer. The objects are designed to act mutable and flexible, and in some cases, age with time just as our human bodies do.
 
Year: 2021
Dimensions: Various
Media: Convex mirrored glass, on silicone, hand burned leather or metal substrates
 
Untitled {pink to silver collar}. Front view. 24” H x 14”W x 1/2” D (when flat)
 
 
 
 
Untitled {pink to silver collar}. View revealing a magnetic button opening
 
 
 
 
Untitled {pink to silver collar}. Details.
 
 
 
 
Lines and beams pendant. Front view. 9” H x 3” W x 1” D on 24” L chain
 
 
 
 
Lines and beams pendant. Front Detail.
 
 
 
 
Bracelet with Temple border. (TL). Laying flat, (TR). Folded, (B). Wrapped around wrist. 10” H x 4” W x 1/2”D (when flat)
 
 
 
 
Pendant with Temple border. Front view. 12” H x 4” W x 1/2” D on 16” L wire.
 
 
 
 
Suite of bracelet and pendant with temple border
 
 
 
 
Leaves in Haze neckpiece. Angle view. 6” H x 4” W x 1/2” D on 18” L wire
oplus_2

Mirror paintings II

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These wall-mounted panels embody and amplify the optical phenomenon of the Sheesh Mahal (palace of mirror) outside of its socio-cultural history and decorative motifs. By encasing convex, tinted, reflective glass shards in clear and textured epoxy, these works speak about the invisible, scarred and fractured turbulences of our human condition, hoping to inspire the viewer to reconsider self-image and action in space.
 
Year: 2021 onwards
Media: Blown mirrored glass, silicone, clear textured epoxy, stainless steel, wood
 

tamra . 2024. Front view.
Dimensions: 48” Lx 24” W x 2” D

Evanescent #3 . 2023. Front view.
Dimensions: 24” L x 24” W x 2” D

Blue mirror paintings 1 & 2 (diptych) . 2021 . Front view
Dimensions: 72” L x 36” W x 2” D each

Blue mirror paintings 1 & 2 (diptych) . 2021 . Rear view
Dimensions: 72” L x 36” W x 2” D each

Sunset body . 2022. Front view.
Dimensions: 48” Lx 24” W x 2” D

Sunset body . 2022. Detail.
Dimensions: 48” Lx 24” W x 2” D

Evanescent #2 . 2023. Front view.
Dimensions: 24” L x 24” W x 2” D

Evanescent #2 . 2023. Detail.
Dimensions: 24” L x 24” W x 2” D

Aurora #10 . 2023. Front view.
Dimensions: 24” L x24” W x 2” D

aham . 2023. Front view.
Dimensions: 24” L x 24” W x 2” D

chith . 2023 . Front view.
Dimensions: 24” L x 24” W x 2” D

Atman . 2023. Front view.
Dimensions: 48” Lx 24” W x 2” D

Aurora #1 – #9 . 2021. Front view (one work from series)
Dimensions: 12” L x 12” W x 2” D

untitled {temple border} . 2024. Front view
Dimensions: 48” L x 24” W x 1.5” D

evanescent #4 . 2024. Front view
Dimensions: 24” L x 24” W x 1.5” D

06_a

Saans : eyes of the skin

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In homage to the Sheesh Mahals (palaces of mirrors) of South Asia, this wall of shattered glass mirror acknowledges the presence of its viewers, by moving subtly with its own inhaling and exhaling breath. Because they are made of blown glass, each shard is slightly curved, creating thousands of convex mirrors that miniaturize the viewer’s reflection.The viewer almost disappears when standing still in front of the piece, while the curved mirrors amplify every small movement to create a cascading wave. Over time, the silicone skin will age, just like the original buildings did, and small pieces of mirror will fall away. The 35th Rakow Commission at Corning Museum of Glass.
 
Year: 2020-2022
Dimensions: 6 ft x 4 ft x 1 ft
Media: Blown, mirrored, and cracked glass: silicone, steel; Arduino sensors; electronics; wood
 
Front view featuring a reflective glass skin that breathes in the presence of a viewer, while miniaturizing and multiplying their self-image into a million repetitions across its surface. Photo Credit : Brad Patoka
 
 
 
 

Watch the subtle breathing behavior of Saans, in normal and fast speeds. Credit : Brad Patoka
 
 
 
 
Front view featuring mirrored glass as an elastic skin. Back view featuring woodburnt patterns that articulate the skeletal structure living inside the artwork’s body. Photo Credit : Brad Patoka
 
 
 
 
A peek inside the artwork shows its skeleton, organs and nerves. Photo Credit : Brad Patoka
 
 
 
 

Video documentary about the making of this artwork. Published by Corning Museum of Glass, 2022
22_a

Abu Dhabi Art Limited Edition Prints

Imagine Sheikh Zayed laying at night, looking up at the night sky, contemplating each emirate as a unique star. The United Arab Emirates is the constellation he built, a nation that fosters the thriving autonomy of each of its stars, an Emirate. My prints use 7 “stars” to build dynamic constellations that connect them through sculptural glass elements that reflect the landscape of each Emirate. The clear glass bonds between points that mark the Emirates are real and tangible, yet delicate and invisible. They speak of both the stable balance as well as the precious nature of such close relationships. Each print in the edition is built on sand from an Emirate, and the same set of stars create different constellations across the print edition, thereby showcasing the dynamic, fluid and creative identity of the UAE.
 
Year: 2018
Dimensions: 18” L x 18” W x 6” D
Media: Clear glass filaments on sand from each of the seven (United Arab) Emirates, resin, archival white matte board, black wood frame
 
#7
 
 
 
 
#6
 
 
 
 
#5
 
 
 
 
#4
 
 
 
 
#3
 
 
 
 
#2
 
 
 
 
#1
03_a

Inflorescence

Ephemeral, transparent structure(s) composed of web-like glass filaments are co-created by participants in public space. I set up basic rules for building a self-supporting, endlessly propagating form and invite people to build portions of the structure. On-site guidance initiates participants to the flame working technique of Networking that involves welding glass at specific points. The outcomes are constantly-mutating structure(s) that people help build, destroy, engage around. These crowd-created object are not predetermined inn design and are generated through many small actions of its participants.
 
Year: 2015 onwards
 
We created an arch with the help of 247 people over a period of 6 days. Built by visitors of Dubai Design Week, 2015.
 
 
 
 
Details of the arch (L-R) : Flame welding glass rods, Instructing a visitor on how to use the torch, Transmission of colored light through glass rods at night.
 
 
 
 

Introduction to this body of work. Video credit: Riikka Haapasaari / ChoChoMa Studios.
 
 
 
 
A spring created at the Jutta Cuny-Franz Memorial Award exhibition for the Kunstmuseum Palast, Dusseldorf, 2017.
 
 
 
 
Students at the University of the Arts, Philadelphia, co-created a glass bridge during an Irwin Borowsky International Prize in Glass Arts workshop in 2017. Photo credit : Carmichael Jones.
 
 
 
 
~60 participants at the Chrysler Museum of Art created a spiral spanning 12 ft in diameter, with a path to walk to its center, over a period of ~6 hours. Hosted by the Perry Glass Studio’s Third Thursday Performance series, 2018. Collaboration with Dr. Kevin Patton, who generated music from the sounds of our flame and tools. Photo credit : Echerd Wheeler
 
 
 
 
 

Sounds of a Flame, a short video from the Chrysler Museum of Art, documenting the collaborative performance night at the Perry Glass Studio, 2018. Following the intentional collapse of the structure, participants created mementoes using the fragments from object-breaking.

 
 
Students of glass facilitating the building of a structure at Pioneer Square in Seattle, during Glass as Social Practice workshop at Pilchuck Glass School, 2017.
 
 
 
 
Student of Social Practice: Environmentalism at Pilchuck Glass School guiding a participant in public space, 2019.
30_a

draw and dance

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A red bangle traverses architectural symbols across India over time in order to articulate its various histories.
 
Year: 2014
Dimensions: ~48” projection screen, 5” x 5” x 1” flip book
Media: Digital animation (16:9, silent), flipbook
 
A few pages from the flip book
 
 
 
 

The animation, which when projected onto a wall, features a red bangle in the size of one’s wrist.

27_a

Untitled

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Puffy glass laid atop screen printed glass sheet is cast in a kiln using an improvisational wire-mesh-based mold formation called gravity mold. The resulting autopoietic sculpture results from the simultaneous forces of inflation and gravity.
 
Year: 2014
Dimensions: 10” L x 6” W x 8” H
Media: Cast glass, Glass + Flour = Puffy glass
 
Side view. Photo credit: Alec Miller
21_a

Draping geometry

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Installation composed of two layers of glass rings – black and clear. The rings are woven to create a flexible, lacy, fishing net-like glass textile. Suspended from various points, the peaks and valleys of the installation may change form and contour, similar to the changing levels of sea bed or sand dunes of the earth.
 
Year: 2014
Dimensions: 18′ L x 4’W x 30’ H
Media: Glass, stainless steel wire, custom electronics responsive to participant (optional).
 
Detail
 
 
 
 

Installation’s front view

 

 


Side view

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