“Collidoscope: de la Torre Brothers Retro-Perspective” is an exhibition encompassing almost three decades of work by Mexican artists Einar and Jamex de la Torre. These forty mixed-media glass sculptures represent their blown glass inspired by the unique and ever-changing view through a kaleidoscope. The title is a wordplay that combines “collision” with “kaleidoscope.” It reflects the complexities of the immigrant experience and the contradicting bicultural identities that propel narrative and aesthetic practices. The art employs concepts of time, religion, tradition, regional distinctions, and personal experiences, which are combined to expand our perceptions of cultural identity.
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Collidoscope: de la Torre Brothers Retro-Perspective
Exhibition – Interior Design (Built)
Firm
Studio Joseph
Architect/Designer
Wendy Joseph
Design Team
Wendy Evans Joseph, Monica Coghlan, Partner Jose Luis Vidalon, Partner Xingyao Wang, Designer Anthony Roy, Graphic designer
Location
Corning, NY
Country
United States
Photographer/Copyright
©Corning Museum of Glass & Studio Joseph
Given that the gallery’s white concrete walls and heavy linear skylights did not reinforce the vibrant, complex creations, the spatial design is based on an orthogonal system of horizontal and vertical planes with strategically placed displays and rectilinear plinths. The color palette employs shades of yellow and ochre throughout, articulated by white highlights and interpretive texts. These tones support the art’s coloration and texture without being neutral. The display armature incorporates framing devices and carefully proportioned vitrines to achieve a powerful geometric force in dialog with the curvilinear glass forms and organic themes.
As a counterpoint to the sculptural display, a graphic overlay holds the gallery together, reinforcing the playfulness of the Torres brothers’ beliefs. With stylized calligraphy, the letters of “Collidoscope” are dispersed at different heights on the walls. Their abstract form and soft grey tonality create a counterpoint to the colorful detail of the glass, setting long vistas that encourage visitors to journey throughout the gallery. Pull-out quotes and other artistic clarifications support the exhibition’s narrative. All texts are in Spanish and English, displayed side by side rather than vertically to allay any subliminal hierarchy.
In addition to the quotes on the wall, selected gallery labels include QR codes that allow visitors to access audio of Einar and Jamex de la Torre speaking about the meaning of elements contained in their work and their experiences as artists working on both sides of the Mexican-American border. During the first month of the exhibition, over 1,200 visitors accessed the QR codes, an all-time high for the museum, demonstrating the success of efforts to attract a diverse audience.
As the Corning Museum of Glass’ visitor profile includes many children and visitors who rarely go to museums, therefore object security is a high priority. For “Collidoscope,” extended touch distance, glass rails, and display orientation all provide safekeeping while not interfering with an intimate understanding of the art. The design considered the size and placement of the interpretation easy reading by people with diverse abilities while not obscuring the works themselves. It was particularly gratifying that the artists felt that the display strategy brought forth their glass pieces in a way that connected to their intention and bi-cultural heritage.