Anne has discussed of her experience of developing the work: 1
“ I remember standing in front of the Cathedral’s West Screen for the first time in 2016, overwhelmed by Hutton’s unique and dynamic way of cutting into glass. Having worked with glass for 15 years at the time my emotional reaction was quite intense. I could hear the sound of grinding into glass and sense the physical effort that would go into an art work like this. The massive West Screen for me is not only overwhelming in its beauty, it also feels dangerous, almost threatening, but fragile at the same time, an attribute which is always inherent in the material glass. It is beautiful and fragile and it can cut you deeply when it breaks.
“ When we met to discuss my work, Dean John Witcombe mentioned the sound the panel made when it got smashed in January 2020, resonating in the big quiet space of the cathedral.“
Of Lichtung – Break Anne adds :
“I have always been touched by the simple beauty and meaningfulness of broken glass and very often use it in my work ... This piece in particular will be sensitive to light. The image will appear and disappear over time, depending on the brightness in this open space.”
The other work takes the form of an image of a book encased in a display cabinet. The cabinet, like the framing of the glass shard by audio-visual equipment and museum barriers, adds a question for us about presentation and preservation.
As Anne comments:
“Lichtung - White Drift , the second work…. responds to the book that the ‘Angel of the Eternal Gospel’ was holding. It follows [my] previous works that speak about spiritual fleetingness and the desire to freeze moments in time.”
