Handling Glass
Meng Du Sees Through the “See-Through”
by Rory Martin, January 29, 2026
Thorns of Light No. 03, 2025, Glass, Mirror, Wood, Cement-Based Grout, Cement Pigment, Acrylic Paint, 12 × 8.1 × 1.4 in
Meng Du makes work in conversation with the spiritualistic aspects of our daily life. It is impossible to interact with a mosaic or glass sculpture of hers without acknowledging its gesturing towards introspection. There is a long list of artists that aim to imbue their artwork with the energy and emotion of their personal life and lived experiences, and Du accomplishes this feat with effortless precision. She has developed her artistic practice in such a way, and is currently executing her vision with such efficiency, that the resulting artwork presents itself as the embodiment of her intent.
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With a degree from the Graphic Design program of the Central Academy of Fine Arts, Beijing (B.F.A.), and the Department of Glass and Glass Sculpture Program of Rochester Institute of Technology (M.F.A.), Meng Du maintains a mastery in the medium of glass and related naturalistic elements. Meng Du’s current exhibition at Fou Gallery, In the woods, might be late, runs from December 6, 2025–February 22, 2026. Du’s first solo exhibition at Fou was in 2016, and there is a notable development and shift in the subject matter of her composition from then to now. Many of the pillars of her artistic practice remain intact, albeit with slightly more complexity in composition and manipulation of material. Further, the multitude of series included in this exhibition effectively portray Du’s range in creation, and progress both technically and spiritually.
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Evidence of her growth as an artist can first be observed throughout the works from her “Thorns of Light” series, included in this exhibition. Of note is Thorns of Light No. 03, a work that is both literal and theoretical. As one of the more self-contained compositions of this nature, the tension between the inlaid spikes of glass and the oblivious border containing them becomes apparent. The combination of bulbous shapes and natural elements serve as controlled chaos, a moment in time that has been captured unapologetically.
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Du both leans into and away from the intrinsic nature of growth; something that typically resists mutability suddenly both breaks and breathes. The process of cutting glass for use in a mosaic is a clear and intentional breaking at the hand of the artist, contrasted with the natural breaking patterns that occur when excessive force is applied to a fragile object organically. Still, the human involvement in this shaping demands a respect and deep knowledge of the material, and this is certainly something to be admired.
To Leave, To Arrive - the start, 2025, Kiln-formed Glass, Copper, Tea, Mixed media, Metal Parts, 16.1 × 9.4 × 2 in
Forked Pathway (Clockwise), 2025, Kiln-worked Glass, 10.6 × 7.1 × 4.9 in
One of the most striking elements of this exhibition lies within the varied handling of glass curated throughout the gallery. As an alternative to the mosaic approach to handling the medium, Du also utilizes a kiln to replicate common objects out of pure translucent glass. The presentation of a familiar object in a starkly different material is not new to the canon of art history, but nevertheless you can faithfully rely on this technique to produce a visceral reaction within anyone who sees it. The upheaval of a commonly held assumption about an object stimulates an innate human reaction of pure bewilderment and curiosity.
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To Leave, To Arrive - the start effectively portrays this idea, serving as the bridge between the natural and humanistic elements present within Du’s practice. Her persistent discourse around the typical implementation of thorns within modern art practices reaches its pinnacle here, through its presentation within a highly charged object. The coat hanger is a staple of wardrobes globally, and an essential element of preserving clothing that you care about. It is ubiquitous, and for that reason it also serves to represent the universality and cyclical nature of working life. Should a garment rest atop Du’s hanger, the thorns begin a hidden life behind the fabric, reflecting the internal discomfort and dissatisfaction of those who must unsheathe it every day. Her honest handling of emotional and societal themes like these trudge on through the exhibition, notable even as the objects depicted change in their temperament.
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Serving as a beautiful indication of just how far Du has travelled in her artistic journey, Forked Pathway (Clockwise) stands at center stage. This work is the physical embodiment of intention. There is a quiet confidence and assuredness in the positioning of the “little white shoes”, as she describes them. They remain pensive and critical, contemplative and discerning; understanding that regardless of the path chosen, the “divergences are never judged as better or worse.” Glass, in this case, has been used in the form that is the most familiar, appearing sensitive and highly breakable. The timely presentation of this medium in the shape of a knowingly petite object ultimately softens the corners of the exhibition, repelling the often dense and sharp presentation of glass otherwise.
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Within the white walls of Fou Gallery’s seventh floor show room, Du is welcoming conversation and intrigue. The variety and continuity of the items, medium, and subject matter stand to represent her exploration as an artist. With the notable difference between her previous, third, solo exhibition at the gallery, and the current fourth show almost exactly two years later, it is an exciting prospect just how much the work may transform over the next two years and onward.
Photograph by Liang Mu