This article forms part of the museum’s special feature on how artists and institutions are evolving in response to a changing world.
“Super/Natural”—an immersive, dome-shaped stained glass artwork by Judith Schaechter—truly comes to life from within.
Entering through the small portal, one is enveloped by vibrant glows of birds, stars, insects, and fantastical plants and roots in optimal lighting. Earlier this year, I had the chance to experience it firsthand in Schaechter’s home studio, and I felt a unique blend of serenity and admiration.
This evokes a thoughtful design. Such illumination profoundly affects human emotions, a truth acknowledged by medieval architects and glass artisans centuries ago.
“I’m not particularly religious, but it’s hard not to feel a sense of reverence and awe when stepping into the dome,” noted Chief Curator Laura Turner Igo. The James A. Michener Museum in Doylestown, Pennsylvania, currently features nine glass panels and two related drawings that delve into the eight-foot-tall artwork and our connection to the universe. The exhibition, Super/Natural, opened on April 12th and extends through September 14th.
“You’re enveloped by a riot of plants, insects, and birds,” Igo explained. “Skeletons and bones are present, representing both the splendor of life and the interconnectedness of death and decay. It’s beautiful yet slightly unnerving.”
Schaechter created this exquisite piece during her recent tenure as an artist-in-residence at the Penn Neurotherapy Center in Philadelphia, situated about 40 miles from Michener. The center was on her radar due to her interest in literature regarding the science of consciousness and beauty, often referred to as the “aesthetic brain.” I will oversee the center’s various activities.
When Schaechter reached out a few years back, she found that the center frequently hosts artists, and the timing coincided with the end of the current residents’ term. Excitedly, she volunteered for the next opportunity.
Upon arrival, she aimed to create an immersive experience that positions humans at the center of a “three-layer cosmos,” as she described in a video interview. The resulting structure serves as a serene and enigmatic sanctuary.
Dr. Chatterjee remarked that he wasn’t surprised by the emotional impact of Schaechter’s work. “Usually, feelings of reverence arise in the presence of vastness, making individuals feel small and connected to something greater,” he mentioned in an email interview. “The brain’s network that triggers contemplation and rewards likely gets activated. This can lead to the release of endogenous endorphins related to transcendence, as well as the pleasant emotions of oxytocin associated with connection.”
Schaechter began her BFA at the Rhode Island School of Design in 1983 and was recently honored with the 2024 Smithsonian Visionary Award. She is represented by the Claire Oliver Gallery, and her works are part of collections at both the Philadelphia Museum and the Victoria and Albert Museum in London.
“No one works in glass quite like Judith,” Igo said. She recounted her recent visit to the Met, where she viewed “Garden Landscape,” a three-part stained glass window crafted by Agnes Northrop at Louis Comfort Tiffany’s studio. “Such artworks likely share the immersive quality and technique of ‘Super/Natural,'” she noted, referencing Maxfield Parrish’s “Dream Garden.”
“Of course, Northrop’s work was produced by a larger studio, while Judith meticulously crafted every piece for ‘Super/Natural,'” she added.
Last month, Schaechter discussed her work in a video interview from a beautifully restored 19th-century row house in Philadelphia. The conversation was edited for clarity and brevity.
What artistic goals did you set during your residency at the Penn Neuroaesthetics Center?
They focus on three core themes: beauty and morality, the built environment and wellness, and the relationship with art.
I aimed to undertake a project that confronted issues of beauty and morality, yet I yearned for artistic inspiration. At the onset of my residency, I delved into natural history illustrations, particularly those created by women, which had been one of the few acceptable art forms for women in the 17th and 18th centuries. I found Maria Sibilla Merian’s work particularly inspiring. These artists aimed to render nature objectively, yet their work often appeared more artistic than scientific. I sought to explore this intersection.
What is your experience like at the center?
The atmosphere is fascinating, accommodating around 15 individuals at any time. There are undergraduate students, many of whom are pursuing dual majors in artistic disciplines like architecture and fine art. There is also a medical student focused on plastic surgery who is keen on aesthetics for evident reasons. Weekly lab meetings gather everyone to share project updates, including both Dr. Chatterjee and myself.
Reflecting on my experience in “Super/Natural,” why do you believe glass, particularly the way it interacts with light, evokes such a sense of awe?
I think it has a biological basis. We have an inherent physical response to light, particularly when it’s refracted through glass. Colored light holds a certain magic; it isn’t simply perceived as absence. Most artworks are intended to be appreciated in reflected light since, as humans, we aren’t designed to gaze directly at the sun. Thus, the role of stained glass artists is to modulate that light, rendering it visible.
It’s as though you can reach out and touch the light; glass lets you momentarily grasp something ethereal.
Indeed, people are captivated by radiant light. Just think of how someone might place an empty vodka bottle in a kitchen window to catch the light. It doesn’t always have to be extravagant to be appreciated. There lies an extraordinary resonance in that experience.
What do you hope visitors take away from their experience with your work?
I aim to spark inspiration in others. Everything crafted within the dome emanates from my imagination.
I am immensely grateful for advancing technology, which allows me to explore the craft field within the dome without negating the human touch. However, I feel that many become enamored by technology and overlook the extraordinary power of our own hands and intellect. So while working on the dome, I relied on few reference materials; at 64, my mental repository is rich with experiences and knowledge.
Source: www.nytimes.com
