metal

“give me your tired, your poor, your huddled masses yearning to breathe free, the wretched refuse of your teeming shore. send these, the homeless, tempest-tossed to me, I lift my lamp beside the golden door” (2023), chain-link fence, steel, stained glass, lead, and aluminum, 48 x 38 x 6 inches. All images courtesy of the artist and Sebastian Gladstone Gallery, shared with permission

Timo Fahler’s Stained-Glass Sculptures Question Symbols and Curtailed Freedoms

February 5, 2025

ArtSocial Issues

Kate Mothes

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The creation of stained glass can be traced back to ancient Egypt and Rome, but we most often associate it with its popularity in Western Christianity, as in the biblical narratives adorning chapels and cathedrals. For Timo Fahler, this tradition forms the foundation of a multimedia practice influenced by Mesoamerican codice imagery, national symbols, and motifs found in older European churches.

Stained glass is a “storytelling medium in which I get to draw from everything I experience, everything I study, read, believe in, and even distrust,” Fahler tells Colossal. “We are floating in a unique era of questioning reality, the last gasp of the living generation before automation integrates itself via AI, ChatGPT, and digital interface.” He views his practice as depicting this era and even, in a way, immortalizing it.

“topos haliaíetos for the bald eagle; topos chrysaetos for the gold eagle/Mexico” (2023), steel, cast iron, stained glass, lead, tin, and obsidian, 27 x 41 x 2 inches

Fahler first worked with lampworking glass while studying ceramics at the Kansas City Art Institute, which sparked an ongoing interest in the medium. Recently, he began incorporating it into what he calls “rebar drawings,” which form the foundation of much of his work. “I was curious about letting the unpredictability of light become a part of the ‘materials’ I work with,” the artist says.

Many of Fahler’s sculptures are framed or supported by heavy-duty metals like rusted steel, iron fences, and gates. Stained glass hovers a few inches from the wall, casting colorful shadows. For his most recent works, Fahler places barriers atop the glass to consider not only the viewer’s relationship to the image but also the implications of people being barred from freedoms and knowledge. “I draw from a lot of different sources—historical, mythological, and fantastical—all of which encompass my ‘heritage,’” the artist says.

In a piece titled after the poem “New Colossus” by Emma Lazarus, which is carved in bronze on the Statue of Liberty’s pedestal, Fahler uses a gate to frame a detail of Lady Liberty’s arm constructed of tiny glass squares soldered to the facets of a chain-link fence. Historically a potent symbol of welcome, amnesty, and inclusiveness, the statue in this context references how today, new immigrants’ access is more troubled and often blocked.

Serpents, dragons, eagles, and landscapes merge with realistic portraits and references to historical moments and national emblems, like Mexico’s crest featuring a golden eagle on a cactus with a snake in its talons. The image centers on the nation’s flag, representing the resilience, bravery, and spirit of the Mexican people. Echoing his representation of the Statue of Liberty, the icon is barricaded, merging with iron bars.

“I against i” (2024), found fence, steel, stained glass, grisaille, glass, and lead, 53.5 x 53 x 7 inches. Photo by Nick Massey

Fahler is currently working on a solo presentation with Sebastian Gladstone this autumn. He and his family just moved to Amsterdam, where he shares he’s beginning from a “zero-point/clean canvas” in a new studio, and he plans to explore ideas around the complexities of sovereignty, expatriation, and a quickly evolving global society.

“The world is changing so quickly that we cannot collectively understand, let alone keep up with it!” he says. “I’m excited to be working on all of that and look forward to the body of work that depicts it.”

Find more on Fahler’s website and Instagram.

“two-headed serpent” (2023), mirror steel, cast iron, stained glass, copper, and lead, 30 x 45 x 4 inches

“fever dream” (2024), found gate, steal, stained glass, grisaille, and lead, 32 x 84 x 6 inches. Photo by Nick Massey

“twin serpents” (2024), steel, stained glass, lead, and rebar, 70 x 64 x 64 inches. Photo by Nick Massey

“Space Shuttle Challenger (OV-099)” (2023), fence, steel, stained glass, and lead, 64 x 59.5 x 3.5 inches

“copper zen mountain” (2023), rebar steel, stained glass, lead, and copper, 30 x 40 x 6 inches

“code switching” (2024), found chain-link fence, steel, stained glass, and lead, 64 x 48 x 8 inches

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