The Glass Lady
I once heard someone say that sculptures are like moving pictures. That's not to say that the pieces are alive or sentient. But that the fluidity of their third dimensional forms seem to give the audience a sense of movement. And that is exactly what I felt when I first set eyes on The Glass Lady. Made entirely of clear crystal, the life-sized figurine was the shining star of St Gerald's Art Gallery. People from all across the country came to see it, overcome by the intricacy of her flowing gown and the delicate strands of hair blowing in an invisible wind. But what truly drew the visitors attention was the woman's face. She appeared to be crying, crystalized tears running down her face. It was as though the artist had captured her in time, immortalizing her sorrow for all to see. I was enraptured. I had never seen anything quite so beautiful. Her eyes, like the Mona Lisa's, seemed to follow me as I moved. The small black plaque, where the artist's name was usually written, was blank. I remember asking the man next to me if he knew who had worked on the piece, but he too had no answer. No one seemed to know exactly who the artist was, only that they were a friend of the gallery's owner, and the only correspondence they had had with the director had been by telephone, and that they wished to remain anonymous. I stared in an equal measure of awe and puzzlement at the woman's crying face, and I remember thinking about the kinds of people who can create such beautiful art and not want to claim credit. But as I continued to stare into those shining glass eyes, I began to wonder if the sculpture was a manifestation of the artist themselves. That perhaps they too felt made of glass.
