Warren Carther is a Canadian architectural glass artist and sculptor who successfully combines conceptual, environmental, and structural factors into artistically and visually seamless monumental artworks that enhance the landmark status of their sites. Carther works at various scales but is best known for his monumental projects. His over one hundred site-specific works in carved glass have been documented in numerous books and magazines worldwide. Elected to the Royal Canadian Academy of Arts in 2002, Carther has received a number of awards and honors, including the Royal Architectural Institute of Canada’s award of excellence and the Allied Arts Medal. One of the jury’s comments is as follows: “Through innovative experiments with luminosity, Carther creates sculptural works that fully interpret an architectural space. His contextual approach to his work, in terms of both theme and formal composition, enables art to become architecture, and architecture to become art.” (Anne Carrier, FIRAC).
While Carther’s processes are innovative and intriguing, his aesthetic becomes the main focus of the viewer. With shapes that reference nature juxtaposed in a human-built environment, his work negotiates a line between representation and abstraction. In the artist’s own words, “the visual excitement of glass comes from how it interacts with light. As an artist working with glass, you are working with light in its purest form.” His work is luminescent in a different manner than traditional glass, due to its sculptural qualities. His creative process begins at the project site, where he studies the details of the space, company, and client. Then, he starts his collaboration with architects, engineers, industrial fabricators, studio assistants, and eventually, installers. Though glass is generally considered to be a fragile medium, Carther’s technique creates glass that is stronger than granite when cut at the same thickness by working with quarter-inch plate glass using a cabinet sand blaster and lamination techniques. This thicker glass achieves both structural stability and full artistic expression, and the proprietary coloring techniques do not warp the glass or endanger the structural stability while also maintaining color integrity. Once completed, his works are also suited for outdoor climates and can withstand harsh weather and temperature extremes.
The Chronos Trilogy (1999), curated by James Cavello of Westwood Gallery NYC for the lobby of Lincoln House, Hong Kong, is one of the largest glass sculpture commissions in the world and weighs over 50,000 lbs. Each of the three sculptures represents a particular facet of time; the Past, the Present, and the Future.
SELECTED PUBLIC WORKS
2016 Pearson International Airport, Toronto, Canada, (in collaboration with Heekyung Duquette)
2015 Canadian Embassy, London, UK (Canada House)
2014 People Corporation, Winnipeg, Canada
2012 Carpathia Credit Union, Winnipeg, Canada
2011 Winnipeg International Airport, Aperture, Winnipeg, Canada
2008 Sacred Heart Medical Center, Untitled, Eugene, Oregon
2007 Blue Cross Headquarters, Untitled, Winnipeg, Canada
2004 Ted Stevens Anchorage International Airport, Euphony, Anchorage, Alaska
2003 Orange County Convention Center, Ponce’s Crystal Sphere, Orlando, Florida
2002 AstraZeneca Pharmaceuticals, Untitled, US, Corporate Headquarters, Wilmington, Delaware
2000 Charles de Gaulle Airport, Untitled, Paris, France
1999 Ottawa International Airport, Ottawa, Canada
1999 Lincoln House, Chronos Trilogy, Hong Kong, China
1994 Investors Group - One Canada Centre, Prairie Boy’s Dream, Winnipeg, Canada
1991 Canadian Embassy, Untitled, Tokyo, Japan