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Barry Hood

January 6 - March 17, 2011


When one thinks of glass, the images invoked are often smooth and fragile. Barry Hood’s work is the antithesis of what we have come to expect. His forms are solid… of the earth. They come alive with the translucency of texture and layer upon layer of color. Barry successfully creates a spiritual connection to his medium.  His sculptures are eerily reminiscent of tree trunks. Hood, when asked about the conceptual vision for the installation said,” I want to create an environment, block out the light and the distraction of everything else.”  As an integral part of the installation the pieces are mounted on lighted bases and positioned against black fabric walls. The viewer is given an opportunity to explore Hood’s unique vision and truly experience “Flow”. 

Hood credits his earliest influences to three years he spent in Japan. He assimilated the cultural differences in regard to relationships between the manmade and the natural world. As a student at the University of Montana, Barry respected the work of his instructor Rudy Autio and renowned ceramicist, Peter Voulkos.  Rudy and Peter studied under instructor Shoji Hamada, a Japanese Traditional Ceramicist. Audio reinforced the Asian aesthetic sensibilities that Hood already loved.

After graduation he earned a living making stained glass, eventually moving into the architectural market where he stayed for almost 20 years. As Hood began to experiment with glass he saw a fellow student spill molten glass on a two-by-four. It smoldered and burned a hole in the wood. That was the defining serendipitous moment in time which changed Barry forever. He began to play with the idea of carving wooden molds and pouring in 2,300-degree molten glass. He altered the pieces by reworking the form and shaped the natural remnants. The process was liberating for Hood.

Just as important was Hood’s experience with the Montana landscape. He grew up in a military family and moved frequently, but always considered Montana home. The spaciousness of the landscape resonates along side Barry’s experience with Japanese gardens, architecture and paintings. There is a subtle Zen influence in Hood’s work yet within his creative soul it is evident both Japan and Montana inform his work. He had found a way to combine his love of nature with his personal history. Over the last decade his sculptural works have evolved garnering both regional and national attention.


Barry Hood Flow is sponsored by:



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