This article is part of the museum's special section on how artists and institutions are adapting to a changing age.
“Super/Natural” – an immersive, dome-shaped piece of stained glass art by Judith Schoketer – is truly the best experienced from within.
Step through that small portal and surrounded by multicolored glows of birds, stars, insects, fantastic plants and roots in the right light. Earlier this year, I was able to experience it myself in Schochter's home studio, and I felt a curious combination of tranquility and adoration.
This is due to design. That means that sparkle has a major impact on humans. It was understood by medieval architects and glass craftsmen centuries ago.
“I'm not a religious person, but once I enter the dome it's not difficult to overcome the adoration and wonder,” said Laura Turner Igo, chief curator of the James A. Michener Museum in Drytown, Pennsylvania. It will run until 12th and September 14th.
“You're surrounded by riots of plants, insects and birds,” Igo said. “Skeletons and bones. It represents both the richness of glory and the interconnectedness of death and corruption. It's beautiful, but a little scary.”
Schaechter created this piece during his recently completed stint as an artist at the Penn Neurotherapy Center, home to Philadelphia, about 40 miles from Michener. The center was on her radar. Because she enjoyed reading books on the science of consciousness and beauty, known as the “aesthetic brain.” I will direct the center.
When Schaechter wrote to him a few years ago, her timing was a coincidence. She learned that the centre regularly resides with artists, and that its current residents are approaching the end of his time there. She volunteered enthusiastically to go next.
Once there, she wanted to create an immersive job that puts humans at the heart of “three-layer cosmos,” she said in a video interview. The resulting bright structure is a kind of quiet, mysterious sanctuary space.
Dr. Chatterjee said he was not surprised that Schaechter's work caused this kind of reaction. “Usually, adoration occurs in the presence of vastness, where people feel small and lead to something bigger,” he said in an email interview. “The brain network that induces contemplation and implements rewards is likely activated. Endogenous endorphins can be released with transcendence and oxytocin's pleasant emotions with connection emotions.
Schaechter began his BFA career at Glass at the Rhode Island School of Design in 1983 and is a major seat in Art World Glass, which recently won the 2024 Smithsonian Vision Awards. She is represented by the Claire Oliver Gallery, and her work is found in the collections of the Philadelphia Museum and the Victoria and Albert Museum in London.
“No one works in glass like Judith,” Igo said. She recalled her recent visit to the Met and recalled seeing the “Garden Landscape,” a three-part stained glass window designed by Agnes Northrop at Louis Comfort Tiffany's studio. “I think such works are probably comparable to the “super/natural” of their technique and immersive quality,” she writes, citing Maxfield Parish's “Dream Garden.”
“Of course, Northrop's work was created by a large studio. Judith made all the glass “super/natural,”” she added.
Last month, Schaechter spoke about the work in a video interview from a beautifully restored 19th century row shop in Philadelphia. The conversation was edited and condensed.
What were your artistic ambitions during your residency at Penn Neuroaesthetics Center?
They study three things: beauty and morality. The built environment and wellness. And relationship with art.
I wanted to do a project that addressed issues of beauty and morality, but that didn't inspire me artistically. When my residence began, I also did a lot of research into natural history prints, especially by women. Clearly, in the 17th and 18th centuries, this was one of the things women were allowed to do in the realm of art. For example, I was really inspired by the work of Maria Sivila Merian. These are said to have been people who were trying to create an objective image of nature. But they really didn't look very objective to me – they seemed to be art over science. So I wanted to do something with such an image.
What is it like spending time at the center?
It's an interesting atmosphere. That means there may be around 15 people at any time. There are undergraduates. Undergraduates often have double majors with artistic things like architecture and art. (Medical student studying medical students) He has had plastic surgery and for obvious reasons he is very interested in aesthetics. And every week at lab meetings, everyone talks about their projects and where they are and provides updates, including Dr. Chattersee and me.
I've been thinking about this because I had the opportunity to step into “Super/Natural.” Why do you think glass, especially the experience of seeing light, comes through glass, can make you feel awe-inspiring?
I think it's very biological. I think we have a physical response to synchrotron radiation, and we are used to seeing clear light. The colored light is more magical, as it is not read as nothing. Most art is produced to be seen in situations of reflected light, and you are not designed as a human to stare at the sun. So what I do with good stained glass artists is to modulate that light and make it look.
It's as if you can touch the light. Glass allows you to temporarily catch something.
Yes, people love the shining light. You know, people put a bottle of vodka into the kitchen window when it's empty. It doesn't have to be highly praised and flashy. People really respond to that. There is this incredible power.
What do you hope people experience when they encounter it?
I want to inspire people to be inspired. Everything about the dome is from my imagination.
I'm really grateful for all the technology, so when I say I want to do something for the crafting field at the dome, it doesn't necessarily sacrifice AI. But I think people fall in love with these technologies and underestimate others. Never forget that we invented AI, and never forget what we can do with our hands and our own brains. So I didn't use many reference materials on the dome. I mean, I'm 64 years old and all my references are in my head.
