MUHARRAQ, Bahrain, Feb. 11, 2025 (GLOBE NEWSWIRE) -- Following the Directives of His Royal Highness Prince Salman bin Hamad Al Khalifa, the Crown Prince and Prime Minister, Bahrain International Airport is proud to announce the installation of a major stained glass artwork by internationally acclaimed artist Sir Brian Clarke, titled “Concordia”, which will commence this week. The monumental work, measuring 17 meters in height and 34 meters in width (578 sqm), will stand as one of the largest stained-glass installations of its kind in the region.

“We are honoured to showcase Sir Brian Clarke’s extraordinary talent at Bahrain International Airport,” said Chief Executive Officer Mohamed Yousif AlBinfalah: “This installation not only enhances the aesthetic appeal of our terminal but also underscores our commitment to celebrating art and culture as part of the passenger experience at Bahrain International Airport. Art in public spaces, especially in a hub like our airport, plays a vital role in connecting people from diverse cultures and backgrounds.”

Sir Brian Clarke, a world renowned, painter and architectural artist is often referred to as the “father of modern stained glass,” has created iconic works for architectural landmarks worldwide, including collaborations with Zaha Hadid and Norman Foster. His work has appeared in landmarks worldwide including the Al Faisaliah Center in Riyadh, the Mosque of King Khalid International Airport in Saudi Arabia, and the 14-metre-high, stained glass pavilion, The Stamford Cone in Connecticut. His piece for Bahrain Airport will draw inspiration from the interplay of light and colour, creating a dynamic visual experience for travellers.

For more information, please contact:
Global Communication Office
National Communication Centre of the Kingdom of Bahrain
Hotline: +97313111119
E-mail: communication@ncc.gov.bh

Note to Editors:

Sir Brian Clarke, is widely regarded to be the most important artist working in stained glass today. Across his fifty-year career, Clarke has consistently revolutionised and pushed the boundaries of stained glass. He has been commissioned to design stained glass for buildings across the world by leading architects including Norman Foster, Arata Isozaki and Zaha Hadid and has made great efforts to revitalise interest and respect for stained glass as a medium of equal importance to other art forms.

He received his first commission for a stained glass window at the age of 17 and he has worked in the medium ever since. His most celebrated projects include the Royal Mosque of King Khalid International Airport (1982), the Neue Synagogue in Darmstadt (1988), The Victoria Quarter, Leeds (1989), Lake Sagami Country Club, Japan (1989), Norteshopping, Rio de Janeiro (1996), the Al Faisaliah Centre in Riyadh (1997-2000), Pfizer World Headquarters in New York (1997-2001) and Linköping Cathedral in Sweden (2010). In 2024 he will work on a major commission for Bahrain Airport. Each project draws from the surrounding architecture and culture to create an installation that forms a defining part of the structure.

His work in stained glass, painting and sculpture has been shown widely throughout the world. Exhibitions include Phillips Gallery London, Sainsbury Centre for Visual Arts, PACE London, PACE New York, Gagosian and Christie’s London. His work can also be found in the permanent collection of the V&A London, Corning Museum of Glass New York and Tate. His highly acclaimed show, “Brian Clarke: The Art of Light” was presented at the Museum of Art & Design in New York in 2020/21.

His many technical innovations in stained glass include the fabrication of freestanding stained glass panels which are devoid of lead. First shown in 2002 at the “Brian Clarke: Transillumination” exhibition with “Studies for Caryatids” and “Studies in Grisaille” series. This developed into the freestanding panels and stained glass screens fabricated with HENI. In 1994 he developed a new type of mouth-blown glass with architect Zaha Hadid for the Spittelau Viaducts Housing Project, Austria. His Stansted Airport design (1988) marked the first time in history of stained glass that an artist used computers to assist in the design and creative process of producing stained glass. His leadwork is a body of work without precedent in art history. These works reverse the traditional logic of stained glass windows, making lead the primary element of the work.

A photo accompanying this announcement is available at https://www.globenewswire.com/NewsRoom/AttachmentNg/f4067f6c-ba3d-4d0f-a0d2-70f8651ba788