Glassed In Dreams

 

Consisting of three large-scale sculptural bodies; NEST (II), BODIES (I,II), and CORDS (VI, VII, VIII, IX), the exhibition draws inspiration from George Oppen’s poem Of Being Numerous, which explores themes of existence, perception, and the relationship between the individual and the collective within an urban environment. In particular, it references the second verse, where Oppen reflects on the ‘a city of the corporations’ and the ‘mineral fact’ – ideas that resonate deeply with the architectural landscape of 100 Bishopsgate. Tzanakou sought what she describes as ‘Architecture Responsive Artworks’; pieces that respond to the materiality, architecture, and operational rhytm of the building. Beveridge’s conceptualised use of glass and metal, materials intrinsic to the building’s structure, offered the ideal candidate. The multi-layered dialogue between the final installation and its surroundings blurs the boundaries between interior and exterior, art and architecture, allowing the exhibition to poetically unfold in direct dialogue with its environment.

THE ARTWORKS

NEST (II) is a striking 2.2-meter cubic glass structure housing eight hand-blown glass vessels, each evocative of human organs. The artwork is at the heart of Tzanakou’s concept operating as a microcosm of the building’s architecture and functions. Reflective and transparent, the piece embodies the interplay between individual and collective experience, mirroring the rigid yet fluid nature of corporate structures. The organic forms suspended within the cube reinforce a sense of corporeality, underscoring human presence within the systemic framework of corporate life.

Renowned for merging meticulous glass craftsmanship with conceptual rigor, Gabriele Beveridge juxtaposes industrially manufactured glass panels with hand-blown elements, exploring the tension between the structured and the organic, the corporate and the personal. In NEST (II), she captures the delicate equilibrium between uniformity and individuality; an idea echoed in Oppen’s meditation on urban materiality in Of Being Numerous.

With BODIES (I,II), Beveridge presents a duo of freestanding sculptures composed of hand-blown glass, each affixed to central shop tie tiers of varying heights, the tallest reaching 200x60x60cm. The forms swell and merge, recalling human figures in a state of fluid transformation. Their mounting on commercial display structures alludes to Oppen’s exploration of the tension between personal identity and impersonal corporate environments. These sculptures embody the struggle between individuality and systemic forces, illustrating how identity is shaped, distorted, or constrained within institutional frameworks.

In CORDS (VI, VII, VIII, IX), Beveridge investigates the intersections of material and immaterial, revealing the fragile boundaries between form, time, and space within a corporate ecosystem. Glass becomes both medium and metaphor, encapsulating poetry and tension within a material that tests the limits of possibility and constraint.

This series comprises four tri-coloured, hand-blown glass sculptures, each approximately 80x30x20cm, arranged on a custom-built mirrored plinth. Their repetition reflects Oppen’s engagement with seriality in Of Being Numerous, creating a dynamic interplay between materiality and perception while exploring the delicate balance between uniformity and individuality.

Glassed in Dreams is the winning commission of the Of Being Numerous open call, organised by Brookfield Properties in partnership with AWITA (The Association of Women in the Arts). This initiative forms part of their broader commitment to supporting and amplifying the visibility of female sculptors and curators through commissioned opportunities and dedicated exhibition platforms.

 

 

For any inquiries please contact: vassiliki@artintra.net

photos by Damian Griffiths

 

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