When the fifth edition of the “Greater New York” survey exhibition opened last year, one presentation that generated buzz was a group of jewel-toned sculptures that would look as at home on a playground as in its MoMA PS1 gallery. A cluster of interlocking arches seemed caught in mid-somersault on the floor, near what looked like pairs of socked legs doing the splits. On one wall, three large, jointed hooks evoked the inviting frame of a slide or pool ladder.

Not that any of these are meant for climbing—not least of all because each is made of stained glass. Kristi Cavataro, the artist behind these angular works, liberates the material from its staid place in windows and lamps, and builds thrilling tubular forms that inhabit their own dimension of reality. Each is composed of grids of rectilinear glass pieces that Cavataro hand-cuts and grinds down, then solders in a traditional technique popularized by Tiffany Studios (plywood armatures that she later removes provide temporary support during the construction process). At times, the resulting hollow forms merge into a seamless whole; other times, one serpentine module nests within another, locked in an embrace.

Για περισσότερα δες εδώ.