Armor: Wearable Stained Glass
- Gale Schlegl
- 13 hours ago
- 3 min read
Friday, September 4th from 5:00-8:00 pm
Saturday, September 5th from 12:00-8:00 pm
Address: 3745 Foundry Way, Suite 149, St. Louis, MO 63110
by Gale Schlegl
This two-day pop-up event invites the community to engage directly with wearable sculptures through a collaborative try-on experience.
Sponsored by Regional Art Commission and Mid-America Arts Alliance
Introduction:
Thank you for taking the time to visit.
Throughout the space, you will see signs inviting you to interact with the artwork.
You are welcome to touch any of the pieces, and I ask that you do so with care.
This invitation extends to both the artwork displayed on the walls and the stained glass pieces arranged on the tables.
If you are interested in trying on the stained glass accessories or participating in photographs, please speak with one of the two individuals wearing black-and-white shirts labeled 'Armor: Wearable Stained Glass.' They will review a few guidelines with you and provide a release form for photographs that may be included online or in future exhibitions.
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Artist Statement
After extensive research into the connections between memory and the body, I chose to approach this work from a place of joy, viewing it as an intentional act of healing and celebratory adornment of bodies in all their forms.
The stained glass works presented in Armor: Wearable Stained Glass are rooted in a desire to honor the body. I prioritize recycled glass and often incorporate previous artworks as raw material. For example, I repurposed a former sculpture that once included a burnt wedding dress to create the skin-like harness on display. A large curio cabinet engraved from my childhood home serves as a functional stand and currently houses materials for the event.
The history of stained glass is both religious and spiritual, as glass is both a window and barrier to what lies underneath. Historically, fabric and glass have rarely been combined, mainly because solder binds glass together but repels fabric. Much of the last year of material exploration has focused on overcoming this challenge and finding ways to connect these two materials, including machine-sewing copper mesh and using plumbing solder and resin as glue.
My decision to invite interaction is informed by nearly four years of experience as a museum monitor, where I often found myself reminding visitors not to touch the artwork. This time as a monitor led me to reflect on what compels people to engage with art through touch.
Physical engagement with art requires vulnerability from both the participant and the artist. While this interaction carries inherent risks, as the work may change or be damaged, and glass is also a sharp and delicate material for participants, I believe that the experience itself is integral to the art. The video displayed on the interactive wall offers a glimpse into my studio throughout the creation process.
Fashion, wearable sculpture, and the joy I hold in my identity as a transgender and intersex man were significant sources of inspiration for this project. In considering wearable sculpture, I aimed to create work that is not limited to a single body type. Clothing should adapt to the individual, so I focused on designing androgynous accessories and adjustable clothing items.
As part of this exhibition, I invite participants to be photographed and documented during the two-day community try-on. These images and videos will become an integral part of the ongoing work.
Thank you for being present and engaging with the work.
I believe that creation is a communal process.