A glass sculpture stretched to its limits.
The strategy revolves around the art of the possible; the process is one of crossing boundaries and bringing worlds together in order to gain new ground.
Suspension I is a trial version of a larger format than before. The size and the glass as material is stretched to its limits.
In a unique approach, Pipaluk Lake creates a system of metal wires to tie large sheets of glass together. The many thin wires form a mesh that is strong enough to be suspended in the kiln. The glass moves through the holes of the mesh as gravity pulls on the heated material. The metal wires create relations on several levels: between metal and glass and between cold and heat. Physically, the wire also represents the impact of mind in combination with craft, a connection between the conceptual and the sensory realm.
After the firing, the wire that framed the form-giving process now appears as an integral part of the expression of the finished object.
Pipaluk Lake B. 1962, glass artist
Pipaluk Lake expresses herself in glass, in an idiom and with a technique that develops with the projects she engages in.
Her method is based mainly on experiments with windows glass, which is arranged in a kiln with the use of metal plates and wire. The process is conditioned by a formal framework in the form of geometric systems and shifts within these systems. In the hot kiln, the materials mutually affect each other with gravity as a contributing factor. Pipaluk Lake uses the specific set-ups in the kiln and the regulation of temperature to guide the process from flat sheet to form.
Oxides from copper, brass and iron produce a sort of random ornamentation in the kiln. To achieve special colour expressions Pipaluk Lake adds chemical compounds, pigments, acid or salt to the glass and metal. In serial experiments she uncovers the potential of the materials and achieves a wide diversity of expressions.
1988: Pilchuck School of Glass, Stanwood, USA
1984-88: Kolding School of design (degree in textiles and glass)
2012: Pipaluk Lake Retrospective 1987-2012, Sophienholm, Denmark
2012: Configurations, Galerie Maria Lund, Paris
2011: DROPS, Glasmuseet Ebeltoft, Denmark
2006: Bundles and Fans, Chappell Gallery, New York
Selected grants and honours
2011: Danish Arts Foundation – exhibition award for DROPS
2008: Special Award, Anna Klint Sørensens Fond
1998-2000: Danish Arts Foundation, three-year working grant
2012: Boston Museum of Fine Arts, USA
2007: Victoria and Albert Museum, London
1999, 2005, 2007: Designmuseum Danmark, Copenhagen