Lindsay Brant presents seven stained glass windows that incorporate translucent minerals and beach glass to suggest a fluid, sometimes weightless, sense of self. The single figure defines this body of work. Each portrait is fashioned from a medium traditionally associated with religion and more recently with designs of the arts and crafts movement (Tiffany and LaFarge) to serve her own version of what Walt Whitman titled his Song of Myself.

In Untitled, 2006 we see a self-portrait of the artist reclining in a state of ecstasy. This piece, which is primarily colorless, creates a relationship between light and the depicted body that is as much about the inner experience of physical pleasure as the concrete image of the orgasm. In contrast stands Untitled, 2006, a brightly colored panel of a goat in mid-leap, emerging from a dense bed of sea glass. Here the focus is on the animal body in elevation—its own form of exaltation.

In this body of work, the artist harnesses the light and liquidity inherent to glass to illustrate constant flux as the essential dynamic between inside and outside. Lightness here, in its various forms, is key to the artist’s celebration of herself and the world from which she is inseparable. As Whitman writes, Out of the dimness opposite equals advance.