Destiny’s Child

Sculpture and glass are part of Killian Schürmann’s DNA. Paula Murphy visits his studio as he finalizes his most ambitious project to date, for University College Dublin


Destiny’s Child
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Sculpture
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Killian Schurmann
Paula Murphy
sculpture

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Glass and art have, historically, tended to be considered mutually exclusive, except perhaps in the case of stained-glass. Those who work with glass have been understood to be craft workers, making beautiful functional objects – and when not actually functional, often related in form. This raises what Donald Kuspit has referred to as the ‘old bugaboo: art’s assumed superiority to craft’. 1 However, in th.e last half century, glass has assumed an independence from this craft association. In fact, the V&A has been acquiring what it refers to as ‘glass art’ since the 1960s. Work in glass by then London-based, Antrim-born Clifford Rainey (b.1948) was added to their collection in 1982. His Belfast for art making, art work has not been/should not be defined by the medium in which it is made. Killian Schiirmann’s work exemplifies the breaking down of these barriers between craft and art. He is an artist who works with glass. He makes art works that are essentially sculptural and others that are emphatically painterly. But he also enjoys making functional and decorative objects. Schiirmann’s patronage is both private and public. Examples of his public work are to be found in the grounds of the Chester Beatty Library, in Maynooth University and the Royal Hospital Belfast. His most recent commission, which has been occupying his mind and his multi-studio space for many months now, is for the Newman Building (Arts Building) on the Belfield campus of University College Dublin (UCD).

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