This is an age that celebrates and links vision and knowledge, a permanent and confused continuity between the reality of the subject or object, its perception and representation.

Hans Bellmer said: «the object identical to itself remains without reality».

Vincent Breed approaches glass as an artist, as a material for contemporary art and as a medium for plastic expression, in the quest for identity that underpins his approach, as a creative process for constantly questioning reality.
For him, form and representation never capture anything other than a temporary suspension of meaning, an escape from reality.
He explores and reveals how confused our visual criteria for understanding are. What the glass captures, diffracts, diffuses or reflects is no more than a temporary deposit taken from the form. By freezing it in the time of the gesture, it prolongs the history between the form, its environment and the viewer.

Transparency, reflection and their visual reservoirs give forms the same freedom that poetry gives to language, and delegate to the viewer part of the construction of meaning.
It’s a question of organising the play of chance and thus offering the form its infinite potential for confusion and critical reappraisal.
With glass, Vincent Breed abandons the mass alone as a sculptural element, ridding himself of the single outline of the finished line and the closed mass, opening up the figure to the dynamics of its entire environment and, as a sculptor of stories rather than forms, offering, with this elevated arrangement, following in the footsteps of the sacred, as many sensations as information.

«In sculpture, the next step is movement» Alexandre Calder.