I want to break people’s image of glass. My primary motivation is to be innovative in terms of ideas and experimentation, although I know that in order to produce high quality work I also need to master the techniques of glass, so am constantly evolving and developing ways of working with the material.
This exhibition of work by craftspeople Steven Follen and Keiko Mukaide was craft as you’d least expect it – temporarily installed, site specific works rather than decorative or functional objects.
Domain was the third in a series of exhibitions by Fabrica, which profiled and explored new craft work. This exhibition highlighted an area of contemporary craft practice where artists created site specific works for public spaces, rather than making decorative or functional objects for a domestic environment. Each artist has produced a new work, devised and made in response to the building.
Steven Follen and Keiko Mukaide are two of a number of contemporary crafts people exploring the current link between ‘craft’ and ‘public art’. But why are they seen as such and what constitutes crafts work, or for that matter public art? An exhibition such as Domain inevitably raised questions about the meaning and value of words like ‘craft’ and ‘public art’. As a means of addressing some of these questions Fabrica commissioned and collated a range of information which highlight and articulates some of the current issues in contemporary crafts and public art debate.
Edinburgh based glass artist Mukaide and Follen have works in a number of public collections including The Crafts Council Collection. Mukaide was also short listed for the 1998 Jerwood Prize: Glass.
Domain also highlights Follen and Mukaide as two exponents of the trend linking ‘crafts’ and ‘public art’ – where makers use their understanding of materials to create publicly sited works in response to a specific environment.
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