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Pupila 
Two Seven Two Gallery, Toronto, Canada, 2023.
Curated by Yasmin Nurming-Por.


Pupila, installation view . Steel structures, mussels shells, abalone shells, stained glass, blown and fusioned glass, silicone.







misty-eyed. Steel, mussel shells viewers, glass, lead, water.





Alga mala (naranja encapsulada),  Stained glass piece with encapsulated orange, plastic residues.
This material assemblage pays attention to details emerging from today's material and environmental excesses. Combining the craft of stained glass with decomposing materials and residues from the studio artistic practice, the piece grows around an orange, encapsulated between the glasses; however, its remains have been almost completely evaporated by the greenhouse effect produced.





Pupila, installation view. Mussel shells and glass o ver st eel structure, oxy-cut custom vent piece and blown glass apliqué.






















Pupila. Steel, fused glass, water.








Beso vegetal. Steel, heat oxides and patinas, magnetic dust, rubber and stained glass.
















Cyano-chain. Glass, lead and debris
Stained glass piece inspired by the microscopical study of microorganisms present in samples of fresh bodies of water. The chain resembles the mingle of Cyanobacterial communities, first photosynthetic organisms on earth, that by capturing light and expelling oxygen, created the primordial atmosphere that we breathe today.













Pupila
Two seven Two Gallery, Toronto.
november 25th until december 16th 2023


Pupila opens with an invitation to gaze through a pair of watery mollusc eyes. Borrowing the form of a tower viewer—fixed binoculars common in tourist destinations—her invertebrate glasses act as an intermediary between the outside world and the artist’s practice of worldmaking. Bringing together references from feminist science- fiction and decorative allusions to Art Nouveau the artist constructs an industrial aqueous landscape where ancient stalagmites, Jurassic shells and gelatinous beings co-exist.
With a strong knowledge of craft-based methods, Burmann Littin is a disobedient student. The central sculpture beso vegetal (2023) at once resembles a fragmented oyster shell and the bisection of a limb, anthropomorphized using rubber and stained glass. Like a beckoning call from a distant room, her seductive works ask you to meet them on the level of the floor, the ceiling and the wall. Combining organic materials sourced across Chile, Rhode Island and Ontario with steel manufactured in Hamilton, she muddies the separation between humans and nature. As the artist shares “everything is a beast in the wrong environment,” here beast and beauty are open to interpretation.
Contrasting the cold materiality of steel, an atmospheric pink light evokes the warmth of a perpetual sunset with the potential of a sunrise, or a dawn beckoning an unknown time. Recalling the triviality of human time to earthly—and more than earthly—time, her reconfigurations of creaturely life perform a slippery, anachronistic dance like an eyelid flickering over a pupila (pupil).

—Curatorial text by Yasmin Nurming-Por