Fuji 2011

Editor: This mesmerizing glass sculpture, “Fuji,” was crafted by Lino Tagliapietra in 2011. The way the light plays across the surface is incredible. The blend of colours and textures makes me think of swirling ocean currents. How should we approach our understanding of this piece? Curator: From a materialist perspective, it is essential to consider Tagliapietra’s mastery of glassblowing as a *laborious* process, particularly Muranese glassblowing. Think about the social implications tied to its *production*. Consider the transformation of raw materials like sand and soda ash into this delicate object, and how energy consumption and studio equipment influenced this work's appearance and scale. Is the artistry here inherently at odds with that degree of labor? Editor: I see what you mean. There's such a sense of fluidity in the final piece, but that’s achieved through intensely physical and carefully controlled actions. Did Tagliapietra challenge the perception of studio glass, then, as solely “decorative?" Curator: Exactly. In deconstructing it, consider its function. Could its *lack* of clear utilitarian value highlight the artistic labor inherent in its making, therefore blurring the boundaries of “art” and “craft?" Editor: That's an interesting way to look at it. By focusing on the process and material transformation, the sculpture becomes a testament to human skill. Instead of *seeing* a representation of nature, you are meant to be reminded of industrial process. Curator: Precisely! Its presence then calls to question the relationship between industrial labor and its possible beauty; do you see the ways in which you now approach such artistry differently? Editor: I certainly do! Thanks to your perspective, I've come to think about “Fuji” less as an object of beauty and more as evidence of process and labor.