Seven Weeks

Seven Weeks was conceived during my research into creative processes when I encountered a particularly striking image: a translucent droplet of amniotic fluid cradling a fertilized seed, its delicate skin so sheer that a nascent web of blood vessels glimmered beneath.

This photomicrograph of a 7-week human embryo captured the intricate delicacy of creation at its earliest stages, giving this tender bud of life the ethereal appearance of fragile glass. To bring this vision to life, I collaborated with Thomasine Gieseke, and together, we reached out to the International Center of Glass Art (CIAV) in Meisenthal, France.

Founded in 1709, the CIAV is a historic site that preserves the legacy of Émile Gallé, a pioneer of Art Nouveau glasswork. Yann Grienenberger and Bernard Petry, CIAV’s directors, invited my collective into their Jeune Pousse (Young Talent) program to create Seven Weeks alongside their master craftsmen.

Seven Weeks became a question-mark-shaped necklace, crafted in a single gesture from blown glass, with a blowtorch-sculpted insert that portrays the delicate beginnings of human life—holding within it the hidden mysteries of creation.

Just like most creative process, the initial versions of the artwork proved nonviable. However, these trials became stepping stones for further iterations, which led to the incorporation of a shock resistant PVC neckline developed in collaboration with sculptor Marc Gassier.

Seven Weeks weaves a narrative that explores the profound challenges behind the most enigmatic creative processes. The artwork highlights the essential role of the female body in the act of creation while questioning the balance between physical sovereignty and government control over citizen’s bodies.

This delicate yet defiant work urges viewers to confront issues of bodily autonomy, reproductive rights, and the power dynamics that shape the most intimate dimensions of existence and creation.