IE: Do you work with anything else that’s like watercolor?
SD: I also work with glass, so for me, watercolor is like glass. I was saying earlier that watercolor has, at the same time, a very peculiar saturation and a very particular transparency. For color to have both transparency and saturation is pretty unique—and in that sense, watercolor is quite close to glass, even stained glass.
There’s a story that always fascinated me about a Cathedral that was destroyed in England—I believe it was maybe in the 16th or 17th century in Winchester. They took all the pieces of glass and redid all the panels of stained glass after Oliver Cromwell destroyed them, but they remade them completely abstract because everything had been destroyed: giant, absolutely gorgeous, luminous, abstract stained glass in the 17th century.
There was a whole religious debate about how to use color and what is color and where does it come from. In this context, I find that story super interesting: the solution to a catastrophe is an image which is not. But to still be able to benefit from making color expressive and functional as an architectural feature in the context of these churches.
To answer your question more precisely, I think that sometimes with watercolor you feel that light comes from within, and that is basically what stained glass is about. It comes to life when the light comes from within.