Reflects de Villiers’ interest in the resurgent sensibility of Gothic aesthetics, which her research describes as manifesting in times of extreme flux and anxiety.

A body of work reflecting de Villiers’ ongoing interest in the structural relationship between people, rites and artefacts. She made five of the centre components before managing one without a stress fracture — the slow cooling in the kiln and the ratio between copper and glass is always a calculated risk.

Shown at The Viewing Room, Pretoria, curated by the glass artist and lecturer Martli Janse van Rensburg. It was made in two parts: a group of neo-Gothic glass sculptures, and a single triangular ‘reimagined African ritual’ object combining plate glass, slumped glass, hand-shaped glass beads and copper wire. The works were later destroyed in the 2017 Portuguese wildfire.