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Bowls are the quintessential ceramics common denominator. Nearly all clay artists have made bowls at some point. Whether sculptural or functional they embody perceived simplicity with their open-ended nature. Just Another Bowl features 50 clay artists' work, exhibiting the wide range of approaches to ceramic bowl making.

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In conjunction with Just Another Bowl, we are holding a canned food drive. Bring a donation with you when you visit the gallery & help fill our community's empty bowls.

Click here to learn more about the West Chester Food Cupboard

Located at Rose Glen and Mill Creek Roads in Gladwyne, PA, Sculpture in the Glen is open to the public on Saturday and Sundays from 12 pm – 6 pm until October 31st (Closed on October 23rd + 24th). Please use Calendly to indicate when you will be coming. Additionally, the Glen is open by appointment only during the week, see below for more information about how to schedule an appointment and directions to the Glen.

If you’d like to see the glen during the week, you are welcome to make an appointment. Due to the unpredictable traffic on I-76, InLiquid requires you to schedule your appointment 48 hours in advance. To make your appointment, please email Lily Horner (lily.horner@inliquid.org) or call our office at 215-235-3405.

Please join us for a robust month of Programming!

• Every weekend you have a chance to Meet the Artists that are included in Sculpture in the Glen III! Below is the calendar of when they will be on site.

• Tuesday October 5th- Guided Tours (free ticketed event, learn more and RSVP here)

• Sunday October 17th- Yoga in the Glen (paid ticketed event, learn more and RSVP here)

• Thursday October 28th- Gourmet and Glamour in the Glen- (paid ticketed event, information coming shortly)

Ceramicist Heather Ossandon

Having observed the techniques and traditions of classically functioning ceramic communities around the world, Ossandon spotlights time-honored practices in the creation of everyday objects that are vehicles in the conversation about art and its social applications. On a table in the Society of Winterthur Fellows Gallery, Ossandon’s ceramic still life. Still Life with Fruit, examines the connection between the landscape and the food prepared for the many tables of the people who once lived and worked at Winterthur. Ossandon was a Maker-Creator Fellow in 2018.

We are at a moment of time for cultural rebirth and reawakening as we emerge from what has felt like a year long winter of isolation. As cities reopen and we reunite with friends and family we ourselves are in a state of Spring-like blossoming: tentatively reaching out towards the sun in the hope of a warmer tomorrow. Anita Allyn and Laurie Beck Peterson capture the tenderness of this new-growth most directly through photography. Allyn captures delicate new branches and growth against stark black backgrounds referencing Flemish oil paintings. The heaviness of these images are balanced by being printed on silk, allowing her work to seemingly breathe in space. Beck Peterson explores non-traditional printing techniques and turns her images into not just prints, but also imposes them on tree limbs and stumps questioning the image/the real and the sign/the signifier.

Jacqueline Yvonne also addresses rebirth through trees, as well as acknowledges the past from which it springs. Dead tree branches act as foundations for beautiful family heirloom gems to spring forth, growing beauty and renewal from forgotten and discarded objects.

Rebecca Saylor Sack and Marilyn Holsing’s work both depict the exuberance of rebirth. Saylor Sack’s large scale oil paintings capture brightly colored blossoms erupting from the ground overtaking the neon detritus of natural life cycles. Marilyn Holsing’s dioramas similarly depict exploding worlds of nature that provide a space for her inhabitants, and ourselves, to get lost in exploring.

Sam Nejati and Heather Ossandon approach ideas of rebirth more metaphorically. Nejati’s paintings capture quiet and reflective moments in liminal spaces: pollen flooding a greenhouse, a flock of birds twisting in on themselves in the sky just beyond a window pane, the sunlight hitting fog and seemingly washing away color and contrast. These moments are all fleeting, tender, unsure, but also all capture the joyousness of birth and emergence. Ossandon also focuses on liminal spaces through her ominously still picnic scenes and still lives that reference both Manet’s Le Dejeuner sur l’herbe, and Shakespeare’s Macbeth.