Jessica Jackson Hutchins’s ‘sloppy craft assemblages’, as the authors of her Wikipedia page calls them, have long linked to her life: she’s repurposed her old couches, and homely ceramics, and, when she became a parent, her children’s clothes started showing up in her art. That she’s now occupied with stained glass might naturally be traced to her biography therefore; and sure enough last year Hutchins visited an abandoned Christian Science church while location scouting for her participation in the 2016 Portland Biennial. She ended up filling in three missing panels in the church’s glass oculus, after which she took up a residency at a glass studio in her adopted hometown of Portland. Yet this show, The People’s Cries, with its brightly coloured, semiabstract and, yes, sloppy fused-glass pieces – including two 12m-long skylights – is also tinctured with the daily in other ways. Sandwiched between a multicoloured glass distension and its ceramic base is the written phrase ‘General Strike’, while further works (and the show’s title) refer to punk, upraised fists, and opposition movements both historical and contemporary. Hutchins’s everyday, then, is the same fissuring one we’re all grinding through, though maybe she sees it in brighter colours.