Working with a restricted range of forms - the shallow bowl, the flat wall panel or the cylindrical vessel - Klaus Moje draws upon the history of glassmaking to create fields of kaleidoscopic luminescence. The striated, agate-like glass produced in Germany and Austria in the 19th century and the influence of European Constructivism of the early 20th century echo through Moje's geometry. Since his arrival in Australia in 1982, he has developed this structural language to incorporate the influence of the colour and visual drama of the Australian sky and landscape.1 His characteristic technique of cutting and composing a mosaic of coloured glass allows him to plan the structure of a work before submitting it to fusing and polishing processes that create depth and subtly alter his configurations. Close inspection of his glass reveals flashes of unexpected brilliance, graphic tensions and fluidities within the serene formality of his elemental compositions.
1 For a detailed account of Moje's career in Australia, see Geoffrey Edwards, Klaus Moje Glass: A Retrospective Exhibition, Melbourne: National Gallery of Victoria, 1995
Text © National Gallery of Australia, Canberra