Hans Godo Fräbel is hard to pin down. Sometimes his style is abstract, sometimes breathtakingly realistic—or perhaps the word is surrealistic, with realistic figures in impossible situations. In every style his glass is impeccably precise. Dale Chihuly’s works seemed to grow organically from the soil of Phipps Conservatory; in the same setting, Fräbel’s glass almost seems to have been generated by a computer incapable of imperfection.
Why should the beautiful die?