China’s Guan Donghai creates cast glass sculptures that capture his interpretation of the gate form as a symbol of power, not welcome. The artist, who immersed himself in weaving and watercolor painting before he found glass, has exhibited worldwide, but as far as I can tell, not in the United States.

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City Gates Series, Cast Glass

The sculptures have been described as having a primal feel similar to the work of William Morris, but representing decidedly Chinese objects and history.

City Gate Series

Donghai earned a Masters in Art from the Academy of Arts & Design, Tsinghua University and in 2000 was tapped to become the director of the newly established glass art studio at the school. This program was the first glass art program in a Chinese university – an ambitious and successful undertaking. Indeed, he is helping to open the gates of opportunity for many artists in his country.

City Gate Series No.1, Sand Cast Glass

City Gate Series No.7, Kiln Cast Glass

From the form we are given the information that it was not built for welcome people to get in, but show the power for defend, show the dignity that cannot offend. I don’t know when it became a symbol that represents an area. We use ‘into the gate’ or ‘cross the threshold’ to describe people starting a new area study or using ‘attack the gate’ to describe tackle key problems. We use the term ‘country gate’ to describe a country ‘Gateway Opens’ or ‘Live In Seclusion’. Behind a gate always hides the mysterious that made people to guess, to imagine ‘What is inside?’ Is treasure or monster?

Seven Swords, Kiln Cast Glass

To see Donghai’s Weapons Series, click on the image of the Seven Swords above and scroll down the page.

Read more about China’s new wave of contemporary glass art here.
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