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Consciousness as Material

In his Paris studio, Jeremy Maxwell Wintrebert crafts glass lighting that connects the universal and personal

By Linda O’Keeffe / Henry Magazine
Image: Wintrebert’s award-winning installation, The Beginning: Dark Matter. Photo courtesy of JMW Studio.

“It’s not how a finished piece looks,” says Jeremy Maxwell Wintrebert, referring to one of his freehand, blown-glass sculptures, “It’s how it feels, how it moves and glows and evokes emotion.” It’s an intriguing comment coming from an artist whose creations have arduous, technical births. In Wintrebert’s Paris studio, where the furnace averages 2,200 degrees Fahrenheit, glassblowers are in a race to defy gravity. Once an air bubble is breathed into a gather through a long blowpipe, the white-hot material is rotated and cajoled into shape. When it’s fully formed and hardened, too much manipulation or a sudden temperature change can cause it to shatter into a million pieces. “And when that happens,” Wintrebert says, “you pick up the pieces and smile. What else can you do?”

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