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Orbital Mirror


2024/ Glass & Silver/ 28 x 21 x 0.6 cmContact for availability.The Orbital Mirror follows the principles of a gravitational lens. The work –made of hand-polished and silvered glass– creates visual gestures of spatial dynamics using the natural properties of glass.  

Love is a mist – Devil in a bush


2024/ PLA, Glass/ 30 x 15 x 15 cmA collaboration between Delphine Lejeune, Kurina Sohn & Clara Schweers.
On View during Touch My Fantasy at Mauer, Cologne (DE).
Curated by In my Hands Magazin. 

Vein Mirror

 
2024/ Glass/ 107 x 56 x 0.6 cm On View during Alcova Project Space, Milan.
Available via shop.alcova.xyz. Edition of 7 pieces.The mirror appears to be a metallic object but is in fact made of glass. Glass serves as a consistent element in Clara's practice, guiding her exploration of fluidity and permanence. The material becomes a stage where fleeting shapes are captured as intricate webs, framing the mirror’s reflection as unique interplays between distortion and definition. The hand-polished and silvered mirror fuses time-honored techniques with contemporary visions of seemingly digital interactions, which together create analog effects of collision and reflection. 

Grass Render


2023/ Krypton, Argon, Glass, PLA , ScentsOn View during The Alligator and the Bird at Kelderman en van Noort. Delving into light, scent, and form “Grass Render” combines Emilija’s complex exploration of technology and olfactory installations with Clara’s practice revolving around the liquid aesthetics of glass and digital storytelling. Their work is inspired by natural weavings of grass that reflect on complex glass shapes. Together they explored the magical capacities of plants, natural elements and electricity - grass, moss, woods, and gases - enraptured within scents and plasma light. Through the collision of materiality and intangibility, “Grass Render” follows the power of sensory narratives and explores human-plant relationships. 

Entangled Mirror


2023/ Glass/ 53 x 37 x 1.5 cmOn View during Alcova Project Space, Miami.
Available via shop.alcova.xyz The mirror appears to be a metallic object but is in fact made of glass. Glass serves as a consistent element in Clara's practice, guiding her exploration of fluidity and permanence. The material becomes a stage where fleeting shapes are captured as intricate webs, framing the mirror’s reflection as unique interplays between distortion and definition. The hand-polished and silvered mirror fuses time-honored techniques with contemporary visions of seemingly digital interactions, which together create analog effects of collision and reflection. 

Digit V-B to D Series


2023/ Stoneware/ 16.5 x1 6.5 x 34 cm/ 29 x 29 x 48.5 cm/ 24 x24 x 41.5 cmContact for inquiries. Available via shop.alcova.xyz The "Digit V” series are symphonies of “digitii” and converge to form a surreal cage like vessel, woven from delicate molded fingers. These unique pieces and three-dimensional compositions play with greater complexity, while evoking a sense of order. 

Affin Sp.001-002


2023/ PLA, Glass, Silver A collaboration between Delphine Lejeune, Kurina Sohn & Clara Schweers.
On View during Alcova Project Space, Miami.
Available via shop.alcova.xyz In a captivating interplay between the recognizable and the extraordinary, the "affin" series reveals stunning visual formats of otherworldly flowers. Together, the designers Delphine, Kurina and Clara harmoniously blend their visual languages towards redefining collaborative crafts. Blossoming 3d printed flowers and leaves that sprout upon translucent and molten stems made of borosilicate glass. Their artificial glass flowers are meticulous hybrids of both form and material. While emerging from digital landscapes, these unique pieces weave a narrative that is dazzling in its surreal purity. 

Lucid Figural 01 & 02


2023/ PLA, Glass, ElectronicsOn view during
A room with a View at Dordrechts Museum (NL)
Intermediate Glooms at KKKC and Meno Parkas 
curated by Mantas Valentukonis

These artworks are the result of an invitation by the Dordrechts Museum to explore their archive and reinterpret pieces that resonate with the artist's personal practice and interests. The project focuses on representations of women in lying, standing, and sitting poses, as depicted in various paintings and objects discovered during multiple visits to the museum's depot.
These historical depictions were digitally reimagined through the use of prefabricated motion libraries of computer-generated stock bodies, which elongated and distorted the figures, creating a contemporary dialogue between the archival and the digital. The motion libraries, informed by algorithmic interpretations, highlight what is deemed essential in embodying a "female" way of lying—often emphasizing ideals of grace, repose, and sensuality through exaggerated gestures and postures.
Central to the installation is an elongated screen framed by the artist, which integrates standing, lying, and sitting postures derived from open-source motion libraries. The screens display a short animation inspired by the gestures of "sleeping and lying," performed in an abstracted manner. The result is a duet of two female bodies that intertwine, hug, and move fluidly around one another, blurring boundaries between rest, intimacy, and motion.
The pieces examine the intersection of historical representation and digital manipulation, questioning the evolution of the female form in visual culture and its portrayal through both archival and algorithmic lenses.

Illusion Mirrors


2023/ Glass/ 57 x 37 x 1.2 cm/ 57 x 35 x 1.2 cmOn View during Ashes & Sand at Schloss Hollenegg for Design (AT). Realized with the support of Culture Fund Eindhoven. The illusion mirrors appear to be metallic objects but are, in fact, glass forms obtained through kiln carving. Heat-resistant felt is cut into a shallow mold, in which a flat glass sheet is slowly melted and transformed into haptic bas-reliefs. Successively the glass is coated in silver to become a mirror. Because the mirror's surface is not flat, it distorts the image rather than reflecting it faithfully. The hand mirrors are designed for use in the Saal of Schloss Hollenegg. Philipp Carl Laubmann painted the Saal in 1750 with architectural motifs, which transformed the two-dimensionality of the walls into an exterior space. By holding an illusion mirror, visitors can further immerse themselves in the spaces they are walking through. Together, the mirrors and rooms of Schloss Hollenegg create an analog effect of collision, distortion, and reflection.

Bluet Flower


2023/ PLA, GlassSite specific object: Amsterdam.
Contact for inquiries. A collaboration between Delphine Lejeune, Kurina Sohn & Clara Schweers.