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Large-scale, abstract ceramic sculptures are arranged in a room with blue carpet, each with a large lightbulb affixed to the top emitting a warm glow. In the foreground, an elongated sculpture stretches across the floor before jutting up toward the ceiling.

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  • A person wearing a white headscarf and black shirt holds a clay plate close to their mouth, appearing to bite or taste its surface against a black background.
  • A brown skinned man with short black hair sits outside a wood building. He is wearing a long sleeve button up blue shirt and glasses. He is sitting at a shavehorse shaping a chair part.
  • The weaver sits barefoot on a chair, leaning toward the loom, wearing a dark dress with delicate gold dots and long orange feather earrings. Sunlight filters in through a nearby window, illuminating the scene with a calm, natural glow. The overall atmosphere conveys deep concentration, cultural continuity, and the living practice of ancestral art in a contemporary studio setting.
  • A man with long hair in his studio looks at one of his soft sculptures which resembles a large doll of sorts. He is surrounded by lots of sculptures and weaving that are in progress.
  • A South Asian woman in a deep squat, hands joined at eye level with fingertips touching. She wears a fitted, sleeveless grey Kurta top paired with deep blue harem pants. Her hair is pulled back into a bun, and her gaze is directed to the right
  • Norwood Viviano is working with the Museum of Glass Tacoma's Hot Shop team to create a blown glass three-dimensional population graph of New York City during Viviano’s 2017 residency at the Museum of Glass, Tacoma. This population graph is part of the larger installation, "Manufacturing Cities." which includes 24 graphs examining population trends as they are connected to manufacturing in US cities over approximately 400 years.

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