
An exhibition of objects has to do more than display well-made pieces — it has to cohere into a single statement a visitor reads as intentional. The work needed a through-line strong enough to make a collection of glass pieces feel like one idea in a demanding space, while respecting the collaboration's own authorship and constraints.
I treated the show not as a set of objects to arrange but as a single statement to be read — so the first decision was what the collection is about, before how each piece looks. Working with the makers, I held that through-line as the constraint: a piece earned its place only if it deepened the one idea, not if it was merely well made. The room, not the object, was the unit of judgment.
I worked at the level of concept, design and technical direction — the judgment about what the set is about and how it should be encountered — in collaboration with the makers. The contribution is editorial and curatorial: shaping coherence and intent across the pieces and the space.