Ryan Gander, On the subject of horizontals and verticals a ‘Bird-walk’ is added (The remnants of Theo and Piet’s fall from 1924 through Frank’s living room window at Taliesin, during a struggle brought on by an argument over the dynamic aspect of the diagonal line again), 2010

Stunt glass, window leading, Frank Lloyd Wright books
Overall dimensions vary with size of room
Edition of 1 (+ 1 A.P.)

The living room window to the side of the bird-walk from Taliesin, the home of Frank Lloyd Wright from 1914-1959, reproduced in Stunt-safe glass (used in the lm industry for special effects) broken on to the furniture and floor of the space in which it is installed as if there had been a stained glass window set into the wall that someone had fallen through.The title refers to a disagreement between Piet Mondrian and Theo van Doesburg in 1924 that led to a split in the same year, about the relevance of the diagonal line in Art. During the production of their own Stained glass window work - over a decade after Frank Lloyd Wright’s contributions - Doesburg’s works featured the use of the diagonal, whilst Mondrian was heavily opposed to its usage.

Ryan Gander, On the subject of horizontals and verticals a ‘Bird-walk’ is added (The remnants of Theo and Piet’s fall from 1924 through Frank’s living room window at Taliesin, during a struggle brought on by an argument over the dynamic aspect of the diagonal line again), 2010

Stunt glass, window leading, Frank Lloyd Wright books
Overall dimensions vary with size of room
Edition of 1 (+ 1 A.P.)

The living room window to the side of the bird-walk from Taliesin, the home of Frank Lloyd Wright from 1914-1959, reproduced in Stunt-safe glass (used in the lm industry for special effects) broken on to the furniture and floor of the space in which it is installed as if there had been a stained glass window set into the wall that someone had fallen through.The title refers to a disagreement between Piet Mondrian and Theo van Doesburg in 1924 that led to a split in the same year, about the relevance of the diagonal line in Art. During the production of their own Stained glass window work - over a decade after Frank Lloyd Wright’s contributions - Doesburg’s works featured the use of the diagonal, whilst Mondrian was heavily opposed to its usage.

Ryan Gander, On the subject of horizontals and verticals a ‘Bird-walk’ is added (The remnants of Theo and Piet’s fall from 1924 through Frank’s living room window at Taliesin, during a struggle brought on by an argument over the dynamic aspect of the diagonal line again), 2010

Stunt glass, window leading, Frank Lloyd Wright books
Overall dimensions vary with size of room
Edition of 1 (+ 1 A.P.)

The living room window to the side of the bird-walk from Taliesin, the home of Frank Lloyd Wright from 1914-1959, reproduced in Stunt-safe glass (used in the lm industry for special effects) broken on to the furniture and floor of the space in which it is installed as if there had been a stained glass window set into the wall that someone had fallen through.The title refers to a disagreement between Piet Mondrian and Theo van Doesburg in 1924 that led to a split in the same year, about the relevance of the diagonal line in Art. During the production of their own Stained glass window work - over a decade after Frank Lloyd Wright’s contributions - Doesburg’s works featured the use of the diagonal, whilst Mondrian was heavily opposed to its usage.

Ryan Gander, On the subject of horizontals and verticals a ‘Bird-walk’ is added (The remnants of Theo and Piet’s fall from 1924 through Frank’s living room window at Taliesin, during a struggle brought on by an argument over the dynamic aspect of the diagonal line again), 2010

Stunt glass, window leading, Frank Lloyd Wright books
Overall dimensions vary with size of room
Edition of 1 (+ 1 A.P.)

The living room window to the side of the bird-walk from Taliesin, the home of Frank Lloyd Wright from 1914-1959, reproduced in Stunt-safe glass (used in the lm industry for special effects) broken on to the furniture and floor of the space in which it is installed as if there had been a stained glass window set into the wall that someone had fallen through.The title refers to a disagreement between Piet Mondrian and Theo van Doesburg in 1924 that led to a split in the same year, about the relevance of the diagonal line in Art. During the production of their own Stained glass window work - over a decade after Frank Lloyd Wright’s contributions - Doesburg’s works featured the use of the diagonal, whilst Mondrian was heavily opposed to its usage.