Josepha Gasch-Muche


Born in Saarland, lives in Alfeld
1974 -1980 Zeichnung – Günter Swiderski
1982 Grafik, Radierung – Akademie der Bildenden Künste Trier
1980 – 1983 Malerei – Prof. Boris Kleint

Bayrischer Staatspreis

Silver-Prize, The International Exhibition of Glass, Kanazawa, Japan

Bombay Sapphir Prize – Final Selection, Bombay Sapphir Foundation,
LondonErster Preis, Coburger Glas Preis, Kunstsammlungen der Veste Coburg

Kunstsammlung der Veste Coburg
Glasmuseum Hentrich, Museum Kunst Palast, Düsseldorf
Deutsches Glasmalerei Museum, Linnich
Musée Mudac, Lausanne, Schweiz
Ernsting Stiftung, Coesfeld-Lette
Alexander Tutsec Stiftung, München
VGH Versicherungen, Hannover
Museum Würth, Künzelsau
Museum für Angewandte Kunst, Frankfurt
Corning Museum of Glas, New York
Musée-Atelier du Verre, Sars-Poteries, Frankreich
Lowe Art Museum, Miami, USA
Toledo Museum of Art, Toledo, OH
Kerry Centre Hotel, Peking / Beijing
Chrysler Museum of Art, Norfolk, VA
Shanghai Museum of Glass, Schanghai / Shanghai
Flint Institut of Arts, Flint, Michigan, USA
Shenzhen raffles hotel china

Gallery Filser & Gräf, Munich at Art Karlsruhe
Heller Gallery at The Salon Art + Design 2018
Heller Gallery at Art Aspen 2018
Heller Gallery at Art Palm Springs 2018
Heller Gallery at Art Miami 2017
Heller Gallery at SOFA CHICAGO 2017
Heller Gallery at Art Aspen 2017
Heller Gallery at Art New York 2017
Heller Gallery at Art Miami 2016
Heller Gallery at Art Southampton 2016
Heller Gallery at Art New York 2016

2001    Kreissparkasse Hildesheim
2002    Galerie „Vom Zufall und vom Glück“, Hannover / Hanover
2005    Alles ist Licht, Galerie B, Baden-Baden
2007    Licht-Llum, Galerie Lorch + Seidel, Berlin (mit / with Kazue Taguchi)
2009    Adolf Luther – Josepha Gasch-Muche, Galerie Niagara, Düsseldorf (mit / with Adolf Luther)
2010    Lichtgalaxien aus Glas, Galerie Filser & Gräf, München / Munich
2010    Lichtschichten, Gallery B, Baden-Baden2011    Mutable Materiality, Heller Gallery, New York, NY
2014    Lichtphänomene aus Glas, Roemer- und Pelizaeus-Museum Hildesheim
2018 Shattered Matter, Heller Gallery, New York, NY
2022  Josepha Gasch-Muche – Glasobjekte,
   Lippische Gesellschaft für Kunst eV Schloss Detmold

2010    Material Expression, Heller Gallery, New York, NY
2010    Four in One, Galerie Lorch + Seidel, Berlin
2010    Salon Salder – Neues aus Niedersächsischen Ateliers, Salzgitter
2011    Materials Revisited, 10. Triennale für Form und Inhalte, Museum für Angewandte Kunst, Frankfurt/Main
2011    Éclats, Musée Würth, Erstein (Frankreich / France)2012    Glasstress, Beirut Exhibition Center, Beirut
2013    Revelations, Le salon des métiers d’art et de la création, Grand Palais, Paris
2013   Clara Scremini Gallery, Paris
2014    Glass Today: 21st Century Innovations, New Britain Museum of American Art, New Britain, CT
2017 Glasstress 2017, Fondazione Berengos, Venedig Biennale
2018 NEW SPACE, Galerie Filser & Gräf, Munich
2019 Le verre en mouvement, Le Mus Verre, France
2020 Hermitage Museum St Petersburg
Fondazione Berengo – Glasstress
Galerie Filser & Gräf, Munich
2021 Glasstress 2021 – State Hermitage, St. Petersburg (RU)

Exhibition – Catalogue, Le Verre – Exposition, 
L’Orangerie du Domaine de Madame Elisabeth 
Versailles, Conseil général de Yvelines, by Elisabeth Védrenne
Yaffa Assouline – Luxury – Culture, The heart of glass, Newsletter
Exhibition – catalogue, Noir & Blanc, Musée – Atelier du Verre
Sars-Poteries, Frankreich

Glas der Gegenwart, in der Sammlung Würth, Katalog
Die Internationale Exhibition für Glas, Kanazawa, Japan, Katalog
New Glass Review 28, Corning Museum of Glass, New York
La Revue de la Céramique et du Verre, Angélique Escandell, piege la lumière
L’Art du Verre Contemporain, Musée Mudac, Lausanne, Schweiz
Interview von Murielle Languin, Pole Info
International Glass Newsletter

Coburger Glas Preis, Katalog, Dr. Helmut Ricke, Coburg
The Trapper, Peter Schmitt, Neues Glas, Ausgabe 2, 2006

2005Josepha Gasch-Muche, Dr. Horst Schulte, Glashaus, Ausgabe 2, 2005


For her fascinating works of art, Josepha Gasch-Muche uses a very special, extremely thin glass (150 micrometers thin), which is actually intended for the displays of cell phones and similar technical devices. She creates murals and three-dimensional objects from thousands of wafer-thin pieces of glass, which she layers onto canvases or solid surfaces and fixes almost invisibly.

When light hits these layers of glass, the surfaces come impressively to life. Everything changes with the viewer’s perspective, with the incidence of light, which is captured and reflected in the relief in a variety of ways, constantly transforming itself anew and setting it vibrantly in motion. In their dazzling ambiguity, Josepha Gasch-Muche’s works allow visitors to experience the full sensuality of light.

Her work is represented in many collections including Museum Kunst Palast, Dusseldorf, Germany; Corning Museum of Glass, Corning, NY; Museum für Angewandte Kunst, Frankfurt am Main, Germany; Musée Mudac, Lausanne, Switzerland; the Chrysler Museum of Art, Norfolk VA; Toledo Museum of Art, Toledo OH; and the Shanghai Museum of Glass, Shanghai, China.

Energetic force fields

Josepha Gasch-Muche paints with glass. This is not just a metaphor. The arrangement of her sculptural formations on square picture supports, on the radiant white of a wooden background, for example, or the hanging of the works on the wall represent very concrete strategies, as we know them from painting. Her works, which are of course always also sculptural structures, are in a way hybrids. They move between sculpture and painting and can perhaps best be categorized using the term “specific objects” coined by Donald Judd for such works.

The sculptural element of the artist’s objects manifests itself in the material she uses and its artistic treatment. Gasch-Muche works with wafer-thin glass splinters in the form of irregular and differently sized triangles, quadrilaterals and polygons. She fixes them on their bases, layers them on top of and next to each other and fixes them in different directions of movement. Color, as we know, is the result of light and pigment. Without light, there is no color. Light plays an essential role in the artist’s works, pigment does not. It would therefore be more accurate to speak here of non-colored painting. The works’ glass, which is organized in different directions, refracts the light in them in different ways. As a result, different shapes, lines and lineaments crystallize within the circular formations in which Gasch-Muche has arranged her glass elements. We see concentric circles, ellipticals and arcs.

When the light refracts on the fractal glass surfaces, moving and changing shapes are formed within the ideal geometric figure of the circle. Their physiognomy depends on the amount, intensity and angle of the incident light as well as the position and perspective of the viewer. Depending on the degree and number of these parameters, the appearance of the surfaces and thus the images we see changes. This fluidity turns the artist’s objects into living and moving puzzle pictures of a dynamic unfolding of forces. Gasch-Muche reinforces the painterly impression of her sculptural works by adding white granules. Together with the iridescent glass, they create enchanting scores of gold, silver and white tones, whose colouring is solely due to the organization of the uncoloured material and the respective incidence of light.

Josepha Gasch-Muche does not reserve titles for her works, but arranges them according to the date of their completion. One reads that she gives dates a magical, mystical quality in her imagination. This would correspond to the fact that the constructive vocabulary of her works is also oriented towards Platonic ideal forms such as the circle, triangle and square. Like fixed stars, they defined the horizon of the Greek thinker, and like fixed stars, they form the frame of reference for the artist’s works. For Plato, such modules were archetypal forms that provided a reliable measure de more geometrico for the determination of beauty. Gasch-Muche quotes this concept of beauty and at the same time contrasts it with another aesthetic ideal. When she dynamizes and vitalizes her glass circles with the help of light, she creates energetic fields. The original form becomes a form of life, the immutable becomes mobile and the philosophical image becomes an ontological image of our time.

Michael Stöber, Hanover, Salon Salder 2004 – News from Lower Saxony Studios