Bertil Vallien at Imagine Museum

Bertil Vallien's sculptures had me at "hello." Not a big surprise given I'm drawn to stylized faces. But learning about Vallien's process and inspirations made his work truly memorable.  

Take, for instance, the inspiration for his glass heads. Vallien had been commissioned to create an exhibit for a gallery located on a strait with little islands nearby. While visiting the area, he heard the story of Carolina, a 13 year-old girl who fell and hit her head one winter day while crossing some ice. Carolina made it home and snuggled into her bed. She awoke 32 years later. When questioned about her time asleep, all she remembered was black darkness with blue heads. In response to this story, Vallien's exhibit was comprised entirely of blue heads, many of which contained threatening embellishments. (Further research revealed the girl had been abused.) And so began his exploration of heads in his work. 

Vallien's interest in mythology led to his Janus series. In case you need a little refresher, Janus is the god of transitions, gateways and duality. He had the ability to see into the future while having full control of the past. (Wouldn't that be convenient?) The square that protrudes from Janus' forehead is a window that allows viewers to literally see inside the god's head. 

Many of Vallien's sculptures (including the boat in my last post) are sand-casted, a process typically used in metal working. In this process, Vallien uses his hands and various materials to create an elaborate mold of wet sand. He then adds glass figures and other items. Scoops of molten glass are poured into the mold.  Vallien says, "It's like ladling matter out of a volcano and watching the glowing lava turn to ice." 

Vallien has no concerns about the bubbles and blisters the process leaves in his pieces. He quotes a Leonard Cohen song, saying, "There's a crack in everything. That's how the light gets in."  (Confession: I heard this as "that's how the life gets in," which I really liked. The actual quote is, however, more appropriate for glass works.) 

The gallery containing Vallien's "Watchers" was a big "wow." Each piece has so much detail you could spend an hour or more in this room alone. 

The idea of creating torsos in his work came from the film "Stalker" directed by Andrei Tarkovsky. (If this doesn't ring any bells, it's no surprise. The Soviet science fiction art drama film -- Wiki's description, not mine -- grossed a mere $300,000 when it was released in the US in 1979. It had much more traction in the Soviet Union.)  

Tarkovsky was known for exploring spiritual and metaphysical themes in his work. In "Stalker," a lone figure takes his clients to the "Zone," a secret location where there supposedly exists a room where you can fulfill your most secret desires. What could go wrong? 

In a related series, Vallien created blocks of glass in which a variety of items have been encased. Each piece is a map of an area struck by an environmental catastrophe. Extreme heat or cold has wiped out life as we know it, leaving behind only a few clues as to what people's existence was like before the disaster. Vallien's Watchers represent bad leaders who caused the catrastrophe. The concept sadly resonates in today's world. 

I can't resist sharing this close-up of one of Vallien's Watchers. Artistically, it showcases his sand-casting technique. But what gets me is the striking resemblance to Michael Jackson wearing one of his epaulet jackets. (Click here for an example. Apologies for the double click required.)  I have to amuse myself these days. 

To watch Vallien and his team sand-cast a work, click here. And for a deep dive into Vallien, click here for a great interview with Peer Eriksson of Kosta Boda, the company for which Vallien has created for much of his career. Vallien is definitely an interesting guy in addition to being a fabulous artist. A big thanks to Imagine Museum for introducing me to his work!