Artwork description: A three-part cast-glass installation that reveals hidden colour under 365 nm UV light, questioning whether seeing is ever complete—or simply dependent on the right conditions.
Artwork description long: Luminescene: Conditions of Seeing is a three-part cast-glass installation exploring perception as something conditional rather than absolute. Under visible light, the sculptures appear pale, translucent and materially quiet. When illuminated with 365 nm ultraviolet light, colours embedded within the glass become visible, transforming both the objects and the viewer’s understanding of what was already present. The glass was developed from Cristalica frit doped with europium and terbium, then kiln-cast into three related forms. Variations in scale, surface and density allow each component to respond differently to illumination. The largest form anchors the composition, while the two smaller pieces extend it into a visual conversation. Together, they operate as one sculptural constellation rather than independent objects. The work asks viewers to move between two conditions of seeing. Its transformation exposes the limits of immediate perception: we may believe we have seen an object completely, yet another reality remains dormant until the appropriate conditions allow it to emerge. Light therefore becomes more than a means of display; it is an active material that unlocks memory, colour and presence. Luminescene reflects on the unseen experiences that shape both glass and human life—processes, struggles and accumulated learning that remain intangible, but never absent.
Artwork description long: Luminescene: Conditions of Seeing is a three-part cast-glass installation exploring perception as something conditional rather than absolute. Under visible light, the sculptures appear pale, translucent and materially quiet. When illuminated with 365 nm ultraviolet light, colours embedded within the glass become visible, transforming both the objects and the viewer’s understanding of what was already present. The glass was developed from Cristalica frit doped with europium and terbium, then kiln-cast into three related forms. Variations in scale, surface and density allow each component to respond differently to illumination. The largest form anchors the composition, while the two smaller pieces extend it into a visual conversation. Together, they operate as one sculptural constellation rather than independent objects. The work asks viewers to move between two conditions of seeing. Its transformation exposes the limits of immediate perception: we may believe we have seen an object completely, yet another reality remains dormant until the appropriate conditions allow it to emerge. Light therefore becomes more than a means of display; it is an active material that unlocks memory, colour and presence. Luminescene reflects on the unseen experiences that shape both glass and human life—processes, struggles and accumulated learning that remain intangible, but never absent.