FUSE Glass Artist Residency

that is neither clinical and existentially chilling
nor domesticating and reassuring. Instead,
he remains light and floatingly, teasingly
propositional. From this position, his balance
of cane work motifs and mirrored surfaces
and shapes - both poised and off kilter - offers
a rich framework to speculate on how objects
exist, how earth exists, how both exist in such
a way as to hold us in a place long enough
for us to even begin to get all hung up who
is looking at whom, what is looking at whom.
Thankfully it doesn’t make any ‘oh human
concerns are so petty’ statement but rather
acts out the entanglement of the layers of
scale and reality that we reside within (layers
that those like Lacan have always held in mind
too, of course…the Symbolic pitched ‘against’
the Real).
Yet as well as acting all these layers out,
Marcel insists (in a measured way) that he
diagrams it. Damn, I really like this! We can
see that their diagrammatic basis keeps them
ultimately ‘free’, not to be aesthetic objects
only, or to be symbols or analogies either. It
helps them enter the imaginative gravitational
folds of the mind (does this exist, I’m riffing
here!) where they can function as ideas and
perspectives, tentative theories perhaps too.
One of which, maybe, is the idea of multiple
vanishing points. If perspective is built (in
part) on this notion, a single point, vanishing
point, and its stitching of a viewer and a site
in more or less one place, then the squashed
and densified and compressed and rounded
mirroring of Marcel’s works pings this off in all
kinds of other vanishing points such that we
might imagine ourselves win an endlessly
Singularity, 2023
blown and mirrored glass, acrylic paint. Photo: Pippy Mount
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