As a metal sculptor, I spend my days thinking about large chunks of metal. These works are concerned with gravity. Opacity. The immovable object that scoffs at irresistible forces. My diametric opposite, then, might be found in Narcissus Quagliata’s flat panels that seem to have been inspired by the stained glass of 16th century cathedrals. His “Dreamer,” which will have a permanent home at Hotel Murano, is an expression of the dream state, featuring a dancing female, willowy and serene, who wears a hat festooned with candles and surrounded by birds, ala Snow White. I think Quagliata would smile at the reference to cathedrals. He chose to work with glass because, he says, it is “the perfect material to articulate how the essential soul, light, merges with the corporeal body, the glass.”

Josh

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