The Creeping and The Wise: How the metamorphosis of animals in Scottish folklore and fossils became a recipe for glass.Anne Vibeke Mou
A blog piece for National Museums Scotland.
“From a 355-million-year-old fossil to a contemporary glass sculpture, this artwork was a long time in the making. Here artist Anne Vibeke Mou describes the process of working with our curators and collections to produce The Creeping and The Wise, a piece that explores the space between folklore and natural science.”
Published October 25 2021 by National Museums Scotland.
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From Kelp and Stone: Anne Vibeke Mou presents an “Amen Glass” born of Drumossie MoorIan McKay
Ian McKay provides background to the history and process of making Drumossie Moor.
“Given that the show was to be staged close to Drumossie Moor, correspondence about Anne’s plans for the show had begun with her explaining that she had been thinking about “the possibility of making an engraved glass object, composed of Scottish kelp ash and rock from a location close to the battlefield of Culloden.” It would be an object that would contain the landscape, “as well as reference the talismanic ‘Amen glasses’ of Jacobite resistance”…
Published December 2021 by Art North magazine.
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MIMA, Hearing from Artists.Anne Vibeke Mou and Helen Welford
A conversation between Anne Vibeke Mou and Helen Welford, Assistant Curator at Middlesbrough institute of Modern Art, in May 2020.
“I approach glass composition as a conceptual artform through paying a different kind of attention to each element, using recipes and batch formulation as the driving force for ideas and narrative. I look for a confluence of storylines and often begin by researching specific sites alongside Medieval and pre-industrial recipes, which I refer to and modify to my needs.”
Published online by MIMA in May 2020.
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Material Matters: Sand and Ash, Silica and FluxPhoebe Stubbs
Phoebe Stubbs discusses the making of a story of its own telling in her exploration of two projects in art and design that investigate the key components of glass manufacture in works that act as reminders of the complexity of place in glass related to the earth’s resources we share.
“Mou considered the composition of the glass recipe as a way of putting together a story about the area over time: its trade history, geological composition, our glass history’s design, form, and color. Speaking about the many discoveries she made while working on the project, remarked, “Materials aren’t just materials – they’re in fluid transition over geological time”. When raw materials are considered in time-frames as vast as these, place as a notion becomes as fluid as glass”.
Published December 2019 by GASnews.
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