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Like Lital’s fabrics stretched between tree, body and earth, like Eyal’s “silent presence” – a tending in attendance – what is at stake in the life project that is Glasshouse is making felt the fissures in attention, the cracks in experience, that create resonances in the everyday ecologies both human and more-than human. Their work is not to rebuild a home for a cracking world but to make felt the fragility of the architecture we call home, to make felt the home’s dissolution as stable enclosure of human life. Theirs is a politics of cracking asunder the mortgaged architecting of security that too often comes to define home, to define art. This is Glasshouse: the patient crafting of the infinite collaboration of a tending toward the fissures, toward the openings and intervals of event time.
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