Glass and Communication about Death

Abstract

The article’s aim is to study ideas and presentations of artists who present concepts of death via their specific installation techniques, by using glass to reveal relationships between objects and space. The audience are encouraged to interact with the fragility of the glass, reflecting on movement of the body and mind. The setting of the glasswork provides space for the audience to reflect upon and appreciate the art. This study deals with three works: Aquarium of Life and Death (2010) by Mika Aoki, The Memory of Place (2007) by Keiko Mukaide, and In My Mother’s House (2021) by Hedy Ritterman. In each case, the key focus is the ability of the clear glass to show purity in the Buddha’s teaching.

The work of Mika Aoki provides space to show the life cycle in Samsara the truth about the Dependent Origination (Paticcasamuppada). The transparency and delicacy of the glass, together with the beauty of light and deliberate reflection, combine to reveal complicated details of a mysterious creation that intends to replace death. It is the cycle of transmigration in a peculiar glass wilderness that holds overlapping time dimensions.

Keiko Mukaide reconnects different cultures to religion by creating a dialogue to recall death. Glass, light and running water are combined to create unity. The glass that embraces the candlelight symbolizes a crystal soul to lead the peaceful passage to beautiful memory of that which has passed away.

Hedy Ritterman’s work illustrates that death and the transitory nature of things are suffering. Glass reveals this concept through its solidity and fragility, combined with its shadow on the wall. The wine glass hung from the ceiling reflects uncertainty and reminds us to live our lives with care and mindfulness.