To regard glass is to have a dialogue with colour and light. Colour Worship is a response to and exploration in the contemporary relationship between viewer and glass object. The use of aureoles or halos signals a time when art served primarily as a vehicle for devotion and worship. Glass was used as a manifestation of light and divine presence. Today, on its own, glass captures the gaze with or without these higher ties and in some ways distills the relationship between viewer and art to it’s most essential level. Glass is light, light is colour, colour is feeling and feeling is art.
Colour Worship asks the viewer to reflect not only on their relationship with the art before them but also with art at large and the virtues they have grown to covet. Colour Worship draws on many hallmarks of the historical art canon; religious iconography, the suprematist desire to elicit emotional response from abstraction, neoclassical tones of the baroque and rococo styles, to form a pastiche that invites the viewer to engage in a meditation on colour, to plumb the depths of their own experience and reflect on their ingrained proclivities.
The pieces of Colour Worship act as conduits that contain the viewers feelings but also radiate their own meanings.