With the preface text (in Dutch only) by Caroline and Matisse Etienne, the gallery owners working with Bremers for more than 18 years after the first solo with Rob van der Doel in The Hague in 1996, describe their relationship. In the international version this chapter is replaced by an essay by Sven Hauschke. In the Chapter Introduction Charles A. Shepard III, executive Director of Fort Wayne Museum of Art sketches in his contribution the art of sculptures and the art of glass sculptures by Peter Bremers. In the chapter Light, the interview with Joshua Rose starts on nature, environment, landscape and light. After his art education from 1976 to 1980 at the University of Fine Arts, Sculpture Department, Maastricht and from 1986 to1988 at the Jan van Eyck Akademie, Post Academic Institute for Art & Design, Maastricht, Bremers made light sculptures using acrylic filters and prisms to stir the halogen light beams.

In the chapter Blown, Bremers talks about the light that is always present with glass sculptures, even when it is black and the light is absent. The painter Bruce Thurman describes the mutual works that were interesting to make but not fitting into both collections and made because of the interesting combination of both worlds: painted, narrative panels and an integrated glass object. In The magic of Graal the cooperation with Neil Wilkin from 1989 to recent years is subject in the interview. Explaining his meeting with Andries Copier at a glass workshop in Maastricht which turned Bremers career towards glass, the works in Graal technique with large, good photos are shown on these pages. In Icebergs the interview continues on finding glass as a medium, glass and colours and his collaboration with Michael Behrens, his voyages to Antarctica, his working in Czech kiln casting glass and the emerging sculptural forms within the theme Icebergs.

Canyons & Deserts, the opposite in colours and shapes the yellow red sculptures populates those pages with great photos also made by Paul Niessen. In the chapters Nudes with human forms, Outdoor and Inward Journey, the shapes and forms have open core forms, penetrating the space and colour of the forms with the outside. The pages Project show all commissions, closing the book with the colophon and the last pages where some of the collectors wrote Dutch texts on their experiences with collecting Bremers’ works (unfortunately only in Dutch). All glassmakers whom Bremers worked with are shown on photos throughout the book.
A book as a precious possession to read and to study how Bremers’ work developed.
Angela van der Burght