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 2010