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Dale Chihuly is a world-class glass artist from Washington State, having been degreed at the Universities of Washington and Wisconsin, and the prestigious Rhode Island School of Design. Perhaps you have seen PBS programs about him and his Chandeliers, or the Ichibana flowers at his Seattle studio, the Boathouse. The former sometimes reminiscent of vines, vegetables, polyps or seaweed stranded on a rocky island. An example is his chili pepper Chandelier hanging in one of the Center's auditorium stairwells.
But the Chihuly Baskets are more personal, more one on one. Mainly because the massive Chandeliers weigh over a half ton each, whereas a Basket occupies less than two-foot cube. Moreover, the Chandeliers are fragile, while these Baskets are delicate and deliciously sensual.
The Baskets exhibit at the Center is split chronologically, with 1978-88 on the first floor, and 1993 above it. The former is characterized by hard ribbed baskets, richly colowed like shells, while the second floor Baskets are soft and surreal, seemingly swayed by the surf. The lighting is perfect, allowing these lightly colored Baskets to absorb the energy and glow. At the risk of sounding corny, the Baskets bask in the spotlight; they are warmly alive. You want to stop fighting gravity and float among the flora and fauna that Chihuly has created. Their jellyfish tined translucency veils the Baskets held within. You slowly approach a Basket to drink in the experience. Then you peer into its womb and delight at the sight of the minatures. What a trip!
Sprinkled throughout the exhibit are examples of Northwest Coast Indian baskets that inspired Chihuly. I especially have a penchant for baskets, but these maticulously woven baskets pale next to Chihuly's colorful extrapolations. Certainly a paradox: the once live reeds versus the inorganic silicon. The native American baskets are too regular, too artificial, too static, too useful when contrasted against the amorphous organic shapes that caress the light.
In addition, there are some of Chihuly's paint on paint design sketches. I found them disappointingly oversimplified and static. They look better on videotape as performance art. Still, they are interesting as a step in Chihuly's artistic process.
More illuminating is the PBS videotape that is shown continuously. It reveals the logistics of glassblowing and exhibiting which perhaps may appeal more to engineers. In any case, the video whets your appetite for a trip to the Seattle Boathouse. In the mean time, a trip to the Center is cheaper. Admission to the exhibits are free; certainly an inexpensive treat for the senses. Also, Alison Dunn's paintings on the way to the restrooms are a bonus, worth several moments of contemplation.
Incidentally, Chihuly's pieces are exhibited around the globe, and even in the White House. Stop by the Museum Store and see his Buttercup Yellow Persian on display, yours for $2,500.
Scottsdale Center for the Arts
7380 East Second Street
Scottsdale AZ
(602)994-2787
Through 23 Feb 97
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