“When I started working with Judson, we used the technique of waterjet cutting and airbrushing and building 3D elements,” said Jean, who worked with Judson on an earlier project, a glass sculpture, “Gaia” now in a South Korean museum. The partnership resulted in the haunting “pagoda,” which allows viewers to “step in and be completely enveloped in color and light. It will shift and change when the light changes, ”said Jean. Panels from this work will be shown until late summer.

A recent trip to the cemetery perched on a hill overlooking the urban jungle was a scene of juxtaposition: Fishburne ready to display the museum, a Frederic Remington cowboy mess, Mark Twain maquette, Easter Island moai, and classic reproduction. while horse-drawn carriages and mourners stand right outside the door. That scene was a grim reminder of the place and time that Fishburne notes he is “hoping the public will come”.

“It’s exciting now that we’re opening, but you don’t know what to expect,” said Fishburne.

Having something to look forward to is still an important unit.

“We’re basically graffiti, street performers. It feels really good when we get to Forest Lawn,” said artist Flores, who grew up in Tulare, California, where “there was no stained glass” fell in love with it Medium on trips to Spain during long deliberations in medieval churches.

Flores spent two days a week in the studio learning to cut and shape glass with Judson’s craftsmen.

“This type of work requires a special kind of discipline,” he said. “I hope people show up and give him a chance.”