Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.

From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.

From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.

From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.

From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.

From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.

From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.

From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.

From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.

From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.

From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.

From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.

From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.

From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.

From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.

From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.

Using glass as a medium to utilize the transmission of light and brilliancy of the glass colors to enhance the beauty of her subjects, Borgschulte hopes to capture the viewer’s interest as hers has been captured by nature.

With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience.

From wordplay with the actual letters that comprise “BLACK,” to utilizing the expanse of shades of black house paint—including as Nightfall, Soot, Ebony Field, and Black Beauty—to posing the question, “If the color black had a sound, what would it be?,” Benjamin calls attention to the color’s deep historical and social resonance.

Visual meditations on our impermanence, awareness of cyclical time, and connection with nature- inspired by the botanical collection at Lauritzen Gardens

August 21 through September 199 a.m. to 8 p.m. Monday and Tuesday9 a.m. to 5 p.m. Wednesday through SundayOn the gallery walls in the visitor and education centerIncluded with paid […]