Marieta
Langeani
Dialogue First. Design Follows.
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Process:
Be.Coming (2024)
Self Dialogue.
Clay, Plaster, Glass.
Self Dialogue.
Clay, Plaster, Glass.
Be.Coming is a series of glass vessels developed in response to When God Was a Woman. While reading the book, I began questioning how deeply my socialisation had taught me to seek permission (from an external gaze) to experience pleasure, happiness, and simply exist.
Inspired by female anatomy, the series emerged from a desire to reclaim pleasure through making. It explores the more transcendental experience that can arise when we allow our bodies to feel happiness and pleasure without fear. Almost as something divine.
Working with glass became a transformative experience for me. It brought back a deep joy in making something with my own hands, while also confronting me with the frustration of a material that often behaves differently than expected. The process became an exercise in finding a balance between striving to make something perfect, learning through failure, and accepting things as they are.
The vessels were made by sculpting woman-inspired forms in clay and blowing glass over them. These forms were also used to create negative moulds in sand, into which glass was poured, producing a second family of shapes. In the end, the project became a recovery of a possible kind of happiness: never complete in the way we may naively wish for, but real nonetheless.
The vessels were brought to life in collaboration with Glassmanufaktur Harzkristall, with glassmaker Christian Schmidt translating the forms into glass.
Inspired by female anatomy, the series emerged from a desire to reclaim pleasure through making. It explores the more transcendental experience that can arise when we allow our bodies to feel happiness and pleasure without fear. Almost as something divine.
Working with glass became a transformative experience for me. It brought back a deep joy in making something with my own hands, while also confronting me with the frustration of a material that often behaves differently than expected. The process became an exercise in finding a balance between striving to make something perfect, learning through failure, and accepting things as they are.
The vessels were made by sculpting woman-inspired forms in clay and blowing glass over them. These forms were also used to create negative moulds in sand, into which glass was poured, producing a second family of shapes. In the end, the project became a recovery of a possible kind of happiness: never complete in the way we may naively wish for, but real nonetheless.
The vessels were brought to life in collaboration with Glassmanufaktur Harzkristall, with glassmaker Christian Schmidt translating the forms into glass.
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