Works – 2021
EPICYCLE by Maria Sparre-Petersen & Jacob Sebastian Bang
The installation EPICYCLE was created by architect Jacob Sebastian Bang and glass artist Maria Sparre-Petersen both teachers and researchers at The Royal Danish Academy – Architecture, Design, Conservation.
Bang and Sparre-Petersen examined aesthetic possibilities of recycled glass donated for the project by Reiling Glasrecycling Danmark ApS, Næstved.
The efforts resulted in a series of spectacular circular glass objects of varying size that were exhibited in the former glass production hall “Hytte 68”. The objects were installed in an asymmetrical composition on a rectangular field covered in glass shards. The concentrical circular forms – called Epicycles – were kept in nuances of white referencing the glass waste they were created from.
Composition#Devitrification
Epistemic Artefact CK-HV_08A_21, Epistemic Artefact CK-HV_08B_21 and Epistemic Artefact CK-HV_07_21 are exhibited at Gallery Hostler Burrows in New York City from October to december 2021 and in San Fransisco in the spring of 2022. The pieces are composed from solid glass spheres that have been fused together. The glass spheres were handmade from recycled container glass. The soda lime glass has the capacity to devitrify more than traditional semi-crystal glass in the fusing process. The devitrification transforms the glass from an amorphous to a crystalline structure, which adds opacity to the surface of the glass and highlights the shapes of the spheres in a way that emphasizes and accentuates the pattern composition of the finished artefact.
Epistemic Artefact CK-HV_08A_21, Epistemic Artefact CK-HV_08B_21 and Epistemic Artefact CK-HV_07_21 are exhibited at Gallery Hostler Burrows in New York City from October to december 2021 and in San Fransisco in the spring of 2022. The pieces are composed from solid glass spheres that have been fused together. The glass spheres were handmade from recycled container glass. The soda lime glass has the capacity to devitrify more than traditional semi-crystal glass in the fusing process. The devitrification transforms the glass from an amorphous to a crystalline structure, which adds opacity to the surface of the glass and highlights the shapes of the spheres in a way that emphasizes and accentuates the pattern composition of the finished artefact.
Epistemic Artefact CK-HV_08A_21, Epistemic Artefact CK-HV_08B_21 and Epistemic Artefact CK-HV_07_21 are exhibited at Gallery Hostler Burrows in New York City from October to december 2021 and in San Fransisco in the spring of 2022. The pieces are composed from solid glass spheres that have been fused together. The glass spheres were handmade from recycled container glass. The soda lime glass has the capacity to devitrify more than traditional semi-crystal glass in the fusing process. The devitrification transforms the glass from an amorphous to a crystalline structure, which adds opacity to the surface of the glass and highlights the shapes of the spheres in a way that emphasizes and accentuates the pattern composition of the finished artefact.
Circle of Desire # I by Jacob Sebatian Bang and Maria Sparre-Petersen
The piece Circle of Desire # I by Jacob Sebatian Bang and Maria Sparre-Petersen was selected for the Toyama International Glass Exhibition 2021.
Circle of desire # I is part of a series of works resulting from the collaboration between Architect Jacob Sebastian Bang and glass artist Maria Sparre-Petersen. The duo is exploring creation of form in the intersection between architectural representation, crafts realization and circular principles of upcycling waste material. Hereby they challenge existing aesthetic norms within the world of art glass by incorporating conceptual ideas embracing failures and flaws.
The aesthetic ambition in this series of works is referencing architectural scales, experimental processes and a sensitivity to material characteristics- and qualities. While maintaining parameters of precision in formal composition and strength in artistic expression, the work accentuates marks left by production processes and emphasizes the polycromatic inconsistency of recycled containerglass.
