Dale Chihuly has suffered a number of injuries. A 1976 car accident, for example, left him blind in one eye. But he has never allowed these setbacks to deter his creativity. As a highly celebrated artist among those using the glass medium — arguably the most famous since Louis Comfort Tiffany — Chihuly has created thousands of pieces during his career, ranging vastly in size and scope.
Chihuly leads a large team of glass artists in the construction of his pieces. Many of the fantastical spaces he creates are categorized as whole environments and large−scale installations, often too intricate for one person to tackle alone. Through Aug. 7, the Museum of Fine Arts, Boston (MFA) is showcasing several of these installations in "Chihuly: Through the Looking Glass," an exhibition celebrating Chihuly's unique and creative talent.
Based in Seattle, Chihuly has displayed his works in cities all over the world. His exhibitions are both indoor and outdoor, some being permanent fixtures in a community while others are transient. "Chihuly: Through the Looking Glass" boasts nine of Chihuly's awe−inspiring environments in the MFA's Ann and Graham Gund gallery and three of his courtyard pieces located outside.
The entrance into Chihuly's fantasy world begins with "Scarlet Icicle Chandelier," which, like all of his pieces, is made entirely of glass. It would be an understatement to describe the chandelier as simply unlike that of a typical dining room. Its striking blood−red color complements its eccentric shape. It looks like a giant red sea urchin plucked from a coral reef rather than a household fixture, and it is only a preview of what is to follow in the other rooms.
The second room has on display a number of Chihuly's crude sketches that inspired some of his glass pieces. The sketches offer a fascinating look into how such rudimentary drawings lead to whole spaces of color, light and glass. "Ikebana Boat," for one, graces the second room. In this piece, Chihuly filled a wooden canoe with glass creations of all colors that look like tentacles overtaking the modest boat.
The following room draws on Native American culture and art. Chihuly's "Tabac Baskets" are integrated alongside 19th−and 20th−century Native American baskets. They are comparable to large shells and are of subdued gold hues. The baskets are irregularly shaped, making them look very modern even as they blend in with the American Indian pieces. Wool trade blankets hang from the walls of the room, adding to the ambiance of American Indian influence.
Chihuly has always expressed a fascination with flowers in his work, and his next environment, "Mille Fiori," reveals just that. A thousand floral glass fixtures cover a huge portion of the floor in a wide array of colors and shapes. Some are serpent−like in their shapes, while others are more spherical. The lighting of the room brings together the diverse colors in beautiful cohesion.
Lighting also plays a crucial role in the next display, titled "Persian Ceiling." Above a clear glass ceiling lies a multitude of colorful glass shapes created by Chihuly. The lighting of the room causes stunning reflections of color from the ceiling on the sparse white walls, creating otherwise unimaginable shapes. This is perhaps the most whimsical of the nine Chihuly environments housed by the MFA.
Another innovative and intriguing piece displayed is "Neodymium Reeds." On large logs, thin lavender glass fixtures assertively reach for the ceiling. They look like primitive purple plants or otherworldly fungi jutting out from decaying trees.
The eccentric exhibit ends with a gift shop devoted exclusively to Chihuly and his glass art, where anything from books to Chihuly−inspired jewelry can be purchased. For those interested in unapologetic flamboyance and a fascinating use of color, light and shape, "Chihuly: Through the Looking Glass" is undoubtedly worth a look.
