Transparent non-lead glass: colorless, cobalt, pale blue, olive-green, yellow-green, light amber, deep red, opaque white and gray, multi-colored textiles and pigments; wood varies in color; hot-formed on pontil rod, fabricated with mixed-media. Assemblage of 24 components that hang on a wall, each glass component depicts sections of two human bones with joint (one piece of glass), most with stick splints bound to both ends of glass with plyed wire (forming hanging loop) and one or two wrapped knitted textile bandage sections.

During the past decade, the combination of glass with other materials - such as metal, stone, clay, wood, textiles, and organic materials - has been of increasing interest to artists working with glass. In his wall sculptures made of glass and mixed media, Michael Aschenbrenner (b. 1949) explores the fragility of the human body. The context in which he works, however, is not symbolic but political. Aschenbrenner served as a medical field technician during the Vietnam War, and his work addresses the physical consequences of war and the trauma of human casualties. In his Damaged Bone Series, translucent glass bones are delicately attached by thin wires or carefully bound with rags and supported by wood splints. The reverence with which the bones are treated, as well as their deliberate presentation as relics, is a mute reminder of the transience of existence and the horror of the battlefield.