Growing Panes
The art of stained glass is being cast in new light
Style / 11 Feb 2013
Stained glass is an inherently psychedelic art form, which is why it’s so surprising that its most conspicuous uses (staid religious institutions, fussy Tiffany lamps) have conservative leanings. Lately, however, the craft is being contemporized by artists and designers who are reimagining technicolor light filters as modern decorative accents.
David Scheid
: As a production manager for touring musicians like Dinosaur Jr. and Girl Talk, David Scheid has spent the past decade traversing the globe. While he hasn’t given up his day job yet—a recent gig brought him aboard the S.S. Coachella—demand for his stained glass work may diminish his frequent flyer account. After reviving the skills he learned nearly two decades ago to make a window for friends last year, word about his exquisite craftsmanship and eye for composition and color spread quickly. His riffs on sacred geometry are now sold at boutiques like Brooklyn’s Beautiful Dreamers and LA’s Dream Collective.
Steve Halterman:
Kings Highway, the Ace Hotel Palm Springs’ restaurant, owes much of its nouveau diner reincarnation to Steve Halterman. A set designer and prop stylist, Halterman is also a prodigious stained glass craftsman whom the Ace commissioned to create an oversized pane for the eatery. The resultant rainbow eye, his most notable work to date, has become an icon of the resort’s luxe hippie vibe. Equally stellar are the stained glass lanterns he created for design firm Commune’s retail space. Crafted of redwood and outfitted with a leather strap, their vintage California aesthetic is too magical to remain exclusive to the Golden State.
Brian Clarke
: British artist Brian Clarke has been working with stained glass for more than 40 years, during which time he’s collaborated with preeminent architects such as Zaha Hadid, Norman Foster, and Renzo Piano. NYC’s Pace Gallery is currently celebrating his career with a solo exhibition, “Between Extremities.” The centerpiece of the show is Don’t Forget the Lamb (Obverse), a roughly eight-foot-tall “Gothic Modernist” rose window composed of unusually saturated panels. Also on view are recent works on paper, the clean lines of which are informed by his glass, and black canvas paintings that absorb light to illuminate color, much like his glass pieces do.
©The Intelligence Group