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Luminous glass sculptures speckled with light react to viewers with shifts in brightness

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art

#Glass
#Light
#Sculpture
#Sun
#Weather

March 30, 2021

Grace Ebert

Detail from “Liquid Sunshine / I am a Pluviophile” (2019), glass, phosphorescent material, broadband UV light, motion detector, 3,353 x 4,267 x 3,658 millimeters as an installation. Photo by Yasushi Ichikawa, 33rd Rakow Commission, courtesy of the Corning Museum of Glass. All images © Rui Sasaki, shared with permission

Approach the delicate glass works of art from Rui Sasakiand experience the unpredictable patterns of the weather through a subtle glow of blue light. The experimental work of the Japanese artist translates various predictions into speckled sculptures that shine once encountered. This is an intimate process that Sasaki describes as a way of “visualizing subtle sunshine, recording today’s weather, and transferring it from here to there / from there to here. ”

The phosphorescent crystals are brightest in color before turning blue. “Visitors will no doubt be surprised that even if they can’t see anything when they first enter the gallery, they stay long enough and their eyes get used to the darkness and the elements of the work gradually become visible,” writes Sasaki. Since each encounter elicits a unique response in the embedded lights, no two experiences will be the same. She explains:

The phosphorescent glass used stores light with a wavelength close to that of sunlight, and this stored light then glows in the dark. That is, you are now seeing light that has accumulated in the past. If one viewer stays in the gallery for a long time, the next viewer sees the work glowing faintly in the dark. With longer viewing time, the light from the phosphorescent glass fades from moment to moment until the gallery is finally plunged into darkness. This can happen a minute later or a day later, depending on the movements of the viewer.

Many of the sculptures evoke organic elements in material, concept and sometimes form, whether they are shaped into puffy raindrops or a sun-like sphere. Others, however, are represented by domestic scenes with dishes or a hanging chandelier, a juxtaposition that relates to Sasaki’s feeling that after a few years in the United States, she had lost her sense of home. The artist, who now lives in Kanazawa, uses the weather and the surroundings to “recover from the reverse culture shock and to rediscover my intimacy with my homeland Japan bit by bit and day by day”.

Sasaki’s sculptures are part of several group exhibitions, including one at Toyama Prefectural Museum of Art and Design until April 4th another one at Riga Bourse Art Museum that will reopen on April 6th and an upcoming spring show at Tainan Art Museum in Taiwan. She also has a solo exhibition at Tokyo Gallery DiEGO Omotesando planned for May. See this interview and studio visit for an insight into their process and follow where their work is going next Instagram.

“Wetterprojekt” (2015), glass, phosphorescent crystal mixture, sunshine, 1,050 x 1,300 x 750 millimeters (as an installation)

“Liquid Sunshine / I am a Pluviophile” (2019), glass, phosphorescent material, broadband UV light, motion detector, 3,353 x 4,267 x 3,658 millimeters as an installation. Photo by Yasushi Ichikawa, 33rd Rakow Commission, courtesy of the Corning Museum of Glass

“Liquid Sunshine” (2016), glass, phosphorescent crystal mixture, solarium lights, motion detectors, timers, 2,300 x 5,800 x 3,100 millimeters (as an installation). Photo by Pal Hoff

“Liquid Sunshine” (2016), glass, phosphorescent crystal mixture, solarium lights, motion detectors, timers, 2,300 x 5,800 x 3,100 millimeters (as an installation). Photo by Pal Hoff

“Liquid Sunshine” (2016), glass, phosphorescent crystal mixture, solarium lights, motion detectors, timers, 2,300 x 5,800 x 3,100 millimeters (as an installation). Photo by Pal Hoff

“Liquid Sunshine / I am a Pluviophile” (2019), glass, phosphorescent material, broadband UV light, motion detector, 3,353 x 4,267 x 3,658 millimeters as an installation. Photo by Yasushi Ichikawa, 33rd Rakow Commission, courtesy of the Corning Museum of Glass

“Reminder of the Weather” (2020), glass, phosphorescent crystal mixture, lights, motion sensor, plywood, 1,800 x 590 x 300 millimeters. Photo by Kichiro Okamura

“Weather Chandelier” (2015), glass, phosphorescent crystal mixture, metal, timer, motion detector, solar panel, sunshine, 700 x 550 millimeters. Photo by Kichiro Okamura, collection from Glasmuseet Ebeltoft

“Weather mirror” (2021), glass, phosphorescent crystal mixture, mirror, foot switch. Photo by Kichiro Okamura

#Glass
#Light
#Sculpture
#Sun
#Weather

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