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“The only war that matters is the war against the imagination. All other wars are subsumed in it.” – Diane di Prima, Pieces of a Song


The project developed from 2014 onward is protected by BONO and international copyright laws.

Suspended by invisible material, a body-scaled blown glass ammunition Igloo-shaped installation allows viewers both exterior and interior experiences. Fragmented reflections of viewers become visible in the bullet forms due to the lighting. The oculus, or round, eye-like opening at the apex of the dome and the entrance offer the concept of an entry and exit. The ballistic materials spiral facing inward. The body encapsulated by the Igloo then experiences the response of symbolic but transient persecution. The perspectives offered in the physical installation are to reflect on notions of the origin of violence relative to subjectivity and objectivity. The material version of the installations’ symbolism and logic for being hung is to mimic the hovering and spacial aspects of virtual reality spaces, while engaging viewers in notions of safety, arms, survival, tragedy, beauty, and the mythologized celestial conflicts, through formal and experiential means. While humans perceive a small portion of the electromagnetic spectrum, developing the Parietal sensory brain functions allows for deeper sensitivity. Parietal sensory functions rely on an embodied state differing from pursuits for omnipotence. Forms and notions of intelligence confront each other as through the indigenous relationship the Igloo has become associated with as a comforting concept (home), by the social memory the violence of ammunition evokes. Resilience is born through tensions in accepting and transforming conditions. Therefore the installation informs a developed awareness of the costs imposed by brutal forces of nature and that which is symbolically arranged to reflect upon the human origins of the actions which obliterate matter. Additionally, VR exhibition formats are available in sites the original, material installation concept cannot be realized.



Material specifications: translucent,  golden-hued blown glass  as a hollowed out ammunition hull suggesting air, openness, hollow, emptiness and/or contents that can be spilled out. The ammunition is hung with translucent wire material to create the ability for viewers to walk around or under the Igloo. In this way the facilitation of being aimed at during the entry of  comfort and safety. The structure is suspended in the air due to the conceptual nature of the result of all physicality of life becoming of the mind. The ammunition forms point inward for another layer of emotional and conceptual meaning intended to inspire embodied empathy. Empathy matters for life when it is fully embodied, or truly felt and not only cognitive. This is the primary reason for the material installation. The VR version of the installation will also follow the material  installation and collaboration with technicians can facilitate ensuring the experiences translate.


Motivational specification: violence is considered “natural” and therefore never-ending. However, the wars fought for the value of currency are hollow, not hallowed, and clearly missing in reverence for the sacred beauty of life. The sacred space of the home, peace and security are corrupted and viewers are able to witness reflections of themselves. Until each person can reconcile the nature of violence and it’s origins, true empathy is difficult to achieve. The installation therefore requests viewers to pass with dropped arms, so as not to harm the life-sized structure.


Concept developed, 2014: Mari Amman | Igloo_Plan




VR Renditions by Aaron Alvic Schroeder, 2023; Collect the NFT on Open Sea.






error: Contact artist for permissions.