Sovereign Cloister -- Beyond War

Label TextMichael Glancy was particularly drawn to Scandinavian methods of creating new glass objects, which were based on a close collaboration between designers and highly skilled craftsmen. He deeply and meticulously carves heavy-walled sculptural vessels with transparent, colored cores, often changing the shape of the body in the process. Electroplated metal “skins” accentuate patterns exploring geometric and biological grids suggestive of microscopic cellular forms. Glancy nearly always pairs the vessel (he prefers the term “object”) with a base, which he regards as the demarcation of an area, an environment or landscape. Objects and base plates are not created together, but are carefully paired to suit the artist’s vision.Published ReferencesFinley, Gareth, "Silent Light for a Private Gallery," Architectural Lighting, June 1989, p. 40 (ill.).

Basel, Switzerland, Edition Galerie von Bartha, Michael Glancy--Interaction 1991 (Basel, 1991), pp. 38-39 (ill.).

Exhibition HistoryNew York, Heller Gallery, 1986.

Chicago, Navy Pier, Chicago International New Art Forms Exposition (exh. cat.), 1987.

Bay Harbor Island, Florida, Habatat Galleries, The New Aesthetic: A Worldwide Survey of Contemporary Glass Sculpture, 1987-1988.

Bay Harbor Island, Florida, Habatat Galleries, Michael Glancy: New Works in Glass and Metal, 1988.

Toledo Museum of Art; The Saint Louis Art Museum; Newport Beach, California, Newport Harbor Art Museum; Washington, D.C., Renwick Gallery of the National Museum of American Art Smithsonian Institution, Contemporary Crafts and the Saxe Collection, 1993-1995, pl. 14, p. 42, cat. no. 29, p. 195.