By Kevin Atherton, located 1986
From an interview with Michael Archer for Audio Arts:
“The image in the window is not a literal representation of this location, it’s a culmination of drawings and photographs I did around the forest. It does key into where it is-the morning window faces east, the pool of bright yellow light reflects that, whilst the window originally intended to face west was an evening window, with a more mellow and longer light.
Where we are has been planted; the forest is a man-made environment, it’s certainly managed in a very controlled and disciplined, sectioned-off, logical and geometric way. That’s the kind of thing that gives it a grip for me. It’s quite an aggresssive piece, it is unsympathetic to nature, but in a way I think that, in order for it to say something, it has to be that aggressive against it. It has to stand up. The danger with being sympathetic to nature is that the thing ends up looking so much like nature that it’s just consumed by nature. You’ve got to go against the grain, to a degree. I quite like the fact that it’s glass which is often associated with an industrial environment. Glass is also a valuable material. It conveys the idea that it’s been here a long time. There’s an aura about it that’s because of the connotations of stained glass.
It always has been here in people’s heads, the analogy of the cathedral to the forest. The imagery in the window has just made that thought visible and it draws on the tradition of stained glass that goes back to medieval stained glass, and I like that. But it is also interesting to take this material which is very fragile and to make public art with it.”