GAS Journal | Berlin 2024

WHERE ART + DESIGN MEET

52 ND ANNUAL CONFERENCE

BERLIN, GERMANY

15–18 MAY, 2024

BERLIN

GAS BOARD OF DIRECTORS 2023-2024

President Michael Saroka

Vice President Nadania Idriss

Treasurer John Moran

Secretary Lisa Zerkowitz

Ben Cobb

Mika Drozdowska

Percy Echols II

Eric Goldschmidt

Frederik Rombach

Debra Ruzinsky

Kimberly Thomas

Sunny Wang

Martha Zackin

Jocelyn Chan Student Representative

Leia Guo Student Representative

GAS 2024 BERLIN CONFERENCE SITE COMMITTEE

Eric Goldschmidt

Nadania Idriss

Chris Leeuw

Jay Macdonell

Viviane Stroede

GAS STAFF

Brandi Clark, Executive Director

Amanda Crans, Communications Manager

Jennifer Hand, Conference + Events Manager

Marja Huhta, Digital + Design Assistant

KCJ Swedzinski, Operations Assistant

Julie Thompson, Development Manager

Robin Babb, GASnews Editor*

Mike Berger, Conference Photographer*

Sarah Kulfan, Journal Graphic Designer*

Cathy Noble-Jackson, Bookkeeper*

*Contract employee

Published by: GLASS ART SOCIETY

700 NW 42nd St #101 Seattle, WA 98107 USA glassart.org

Editor: Amanda Crans

Graphic Designer: Sarah Kulfan

Photographers: Mike Berger, Amanda Crans, Leia Guo

Copyright © 2024 by Glass Art Society ISSN 0278-9426

No part of this publication may be reprinted or otherwise reproduced in any form without the written permission of Glass Art Society. The opinions expressed and text written in the GAS Journal are those of the annual conference presenters and do not necessarily reflect the beliefs of Glass Art Society, its Board of Directors, or staff. Copies of this GAS Journal may be ordered for a fee from glassart.org

For information about the Glass Art Society, visit glassart.org or email us at info@glassart.org

Cover image

Death of the frog, by Chuchen Song.

All permission for photographic reproduction is the responsibility of the author. Unless otherwise noted, the photographs were submitted by the artist. Dimensions, when available, are usually given in inches or feet as height x width x depth.

Top: Jack Gramann sculpting a face on a single curved line at Berlin Glas. Bottom: GAS Executive Director Brandi P. Clark with GAS President Mike Saroka and GAS Vice President (and Site Committee Chair!) Nadania Idriss at Conference Kick Off.

WHERE ART + DESIGN MEET

GAS Board Vice President and Berlin 2024 Site Committee Chair Nadania Idriss at the Conference Kick Off.

President’s Message

Dear Conference Attendees,

As President of the Glass Art Society, it was my distinct pleasure to extend a warm and enthusiastic welcome to each of you as we gathered in Berlin for this year's conference. Our return to Europe marked a significant and much-anticipated occasion, the first since our memorable conference in Murano in 2018.

Over the past few years, we have witnessed a remarkable growth in our European membership, a testament to the vibrant and expanding global interest in glass as both a medium and an art form. It is truly heartening to see our community flourish, welcoming members from all corners of the world. This diversity not only enriches our organization, but also strengthens our shared commitment to advancing the field of glass art.

This year's conference theme, "Where Art and Design Meet," could not have been more fitting. It reflects our focus on exploring the dynamic intersection between art and design, and the profound relationship that exists between artists and designers. Our conference serves as a unique platform for this exploration, providing a space where different perspectives, techniques, and mindsets converge. It is in these meetings and intersections that we find the opportunity to create something truly extraordinary, something that transcends what any one of us could achieve in isolation.

As we came together in Berlin, we embraced the spirit of collaboration and innovation that defines our community. We engaged in meaningful dialogue, shared our knowledge and experiences, and celebrated the boundless possibilities of glass as a medium of artistic expression. This conference not only inspired us, but also fortified the bonds that unite us as artists, designers, and enthusiasts of glass art.

Thank you for being an essential part of our community and for joining us in Berlin. Together, we will continue to push the boundaries of glass art and design, fostering a future that shines even brighter with the contributions of our talented and passionate members.

Warm regards,

Michael Saroka

Michael Saroka President, Glass Art Society

From the Site Committee

The Site Committee was thrilled to welcome the Glass Art Society to Germany’s capital! Berlin has been and continues to be a glassy city. In the 17th century, an alchemist named Johann von Löwenstern-Kunckel came to Berlin, where he developed gold-ruby glass and penned Ars Vitraria Experimentalis (Perfect Glassmaker’s Art). In the 20th century, the Stralauer Glaswerke produced glass bottles until 1997. The site is now an apartment complex that sits on Glasbläserallee, a delightful nod to its history. Fourteen years later, in 2011, a small group of international artists–and enthusiasts–opened Berlin Glas and a decade later, three of our former students founded their own studio.

As Berlin was reunified in the 1990s the city became an epicenter for both art and design. In 2006, UNESCO named Berlin a City of Design. Today there are around 600 museums and galleries and an estimated 7,000 artists and designers in Berlin! Among them is one of the most internationally recognized design studios: Bocci. In 2021, they partnered with Philipp Solf to open Wilhelm Hallen, a former iron foundry and one of the most sought-after venues for art shows and events. We are grateful to Bocci for donating the use of Wilhelm Hallen for the conference.

Berlin Glas is located in a former schnapps factory composed of unique, historic buildings with varying architectural styles. Along with our neighbors (Monopol Berlin and Bard College Berlin), we have built a community of artists, designers, and craftspersons. Enthusiastic about the Glass Art Society conference, our neighbors let us use whichever space we needed for the conference. Our community continues to grow from a shared love for the craft and through our support of each other.

Nadania Idriss

Site Committee Chair + GAS Vice President

AWARDS

Saxe Emerging Artists Priscilla Kar Yee Lo, Sadhbh Mowlds, and Abegael Uffelman

LIFETIME MEMBERSHIP AWARD

Beth Hylen

The Glass Art Society honored Beth Hylen with a Lifetime Membership Award at the Annual GAS Conference in Berlin, Germany.

A member since 1989, Beth’s dedication to GAS has manifested in years of volunteering at conferences, strutting the runway in six Glass Fashion Shows, leading the charge on creating the GAS archives at the Rakow Library, and being a key member of the GAS History Project conducting oral history interviews. We were able to interview Beth about her connection to GAS and what it means to be honored in this way.

GAS: How have you been involved with GAS over the years?

Beth: My first Glass Art Society conference was in 1979, coinciding with the New Glass: a Worldwide Survey exhibit in Corning. As a CMoG staff member, I was invited to attend lectures, demos and even the party (with Marvin Lipofsky and Pat Oleszko entertaining us). I was able to meet artists whose work I admired, and became a huge fan of Studio Glass! I gave my first lecture at the 1984 Corning GAS conference.

By 1989, I had become a point person for questions from artists at the Rakow Library and had started taking glassblowing classes in NYC (there were no teaching studios in Corning then). I joined GAS and loved attending the conference in Toronto. Since then, I’ve only missed four conferences, and I’ve been in all but one GAS fashion show!

Much of my involvement in GAS is behind the scenes, for example, I was a resource for GAS staff, particularly for Alice Rooney, when she spent six months in Corning preparing to move the office from Corning to Seattle. For years I maintained the list of glass educational schools and programs; publications; and organizations.

I was involved in establishing the Glass Art Society archive at the Rakow Research Library. I co-led a “Workshop for Educators,” at the Glass Art Society, Corning, June 2016, with Bill Warmus and Shane Fero. Our goal was to provide a place for curators, glass historians, critics and others with interest in the historical aspects of glass to meet.

I’ve written articles for the GAS Journal and GASnews. I indexed the first twenty years of the GAS Journal as well. I was an active participant in planning elements of GAS conferences in Corning, beginning in 1990. I even had a one-person exhibition at the ARTS Council on Market Street during a Corning conference.

Sally Prasch and I compiled a “History of the Glass Art Society – 50 Year Celebration,” Timeline and exhibit for the GAS Conference, Tacoma, WA in 2022. I am co-chair of the GAS History Committee and I am currently part of a team volunteering to inventory the GAS archives at the Rakow Library.

GAS: What does it mean to be honored with a GAS Lifetime Membership Award?

Beth: Over the years, the Glass Art Society has offered me so many wonderful opportunities to make meaningful connections and personal friendships. I have especially loved interviewing some of the top glass artists with the GAS History Committee; connecting artists with information they needed; and wearing my own creations in Laura Donefer’s Glass Fashion Shows. I cherish my memories of GAS Conferences in Corning and across the globe. I view the list of GAS Lifetime Members with awe – I am honored and grateful that you have chosen me to join them. Thank you for recognizing my contributions to GAS.

GAS:

What is your fondest

GAS memory?

Beth: Laura Donefer’s Glass Fashion Shows are a highlight! I love transforming from quiet librarian to glassy diva strutting the stage in my own glass creations.

I remember the first time I came out on stage in a glass dress, to a chorus of “That’s Beth!” from one group and from the other “That’s the Librarian!” (perhaps in disbelief). It’s no surprise any more – I still love the energy of the crowd and the performance.

And I’ll never forget gliding through Murano on a BOAT, in my glass-encrusted Commedia del Arte dress, waving to GAS friends who crowded the sidewalks along the canal and locals who waved back from upper story apartments.

Thanks so much Laura!

GAS: You’ve been a key figure in preserving GAS’s history. Why is this so important to you and what is your favorite thing you’ve learned through your research?

Beth: To me, it is important to preserve the voices of the members who created and continue to build our society –they have contributed extensively/significantly to contemporary glass. We have a rich history, and have evolved so much since the early conferences at Penland. Each of us have stories to tell and I love capturing these unique viewpoints in our oral histories.

Little things add up: at every conference, I chat with each Glass Market exhibitor to ask for catalogs, price lists, postcards, and ephemera—and cart loads of paper home with me. The Rakow Library now has a wonderful research collection of studio glass trade catalogs and educational brochures thanks to their generosity.

GAS: What do you see as the value of GAS?

Beth: I’ve explored wonderful places at GAS conferences across the globe. Watching demos, listening to and participating in lectures, touring studios, galleries, and factories – I learn so much!

Most of all, when I think of GAS, I think of all the people I’ve come to know. Each year I meet new people and renew friendships. I believe relationships like these bring together makers of all types of glass, collectors, teachers, and vendors to foster community and understanding.

Also, volunteering for GAS lets me give back to an organization that has offered so much to me.

To help GAS continue to grow and change, I encourage you to volunteer. You don’t have to be on the Board to make a contribution. Often, it’s the little things that count most. Take the time to sit with someone new at a demo or lecture, help them feel welcome. You could also assist our History Committee preserve memories of GAS by helping with oral histories. Connect with the wonderful GAS staff members – ask how your skills might help them.

Danke schön!

About Beth Hylen

An artist, researcher, and writer, Beth Hylen spent over 40 years as a reference librarian at the Rakow Library at the Corning Museum of Glass where she was involved in more than 40,000 research inquiries and projects about glass. Beth is currently helping survey the GAS archives at the Rakow Library, which she helped found with a request to GAS and the board for materials in 2000. Assisted by Sally Prasch, Beth was instrumental in developing the 50th anniversary GAS timeline that was presented at the Tacoma 2022 conference. In addition to her work as a librarian and historian, Beth is a talented glassmaker in her own right, dedicating her career to flameworking and has spent much time researching the history of flameworking.

2024 SAXE EMERGING ARTIST

Each year, GAS awards three promising young artists the Saxe Emerging Artist Award. Funded by Dorothy and the late George Saxe, this award recognizes emerging talent in the glass community. The 2024 Saxe Emerging Artist Award was juried by:

• Mikkel Elming, director of Glas – Museum of Glass Art in Ebeltoft, Denmark

• Dr. Jörg Garbrecht, director of The Alexander TutsekStiftung

• Luisa Restrepo, independent artist

Out of more than 30 nominated artists, Priscilla Kar Yee Lo, Sadhbh Mowlds, and Abegael Uffelman were selected to receive the 2024 Saxe Emerging Artist Award because of their fresh and unique approaches to working with glass.

Priscilla Kar Yee Lo

Growing up as a Chinese immigrant taught Priscilla success equated to assimilation and stability. After years as a healthcare worker where she experienced the blunt reality of intersectionality of race and gender, she felt disheartened and turned to artist endeavors to find a voice and explore her identity as a minority. She was drawn to glass for its duality, constantly existing in a state of fragility and permanency. She has a Bachelors in Craft and Design from Sheridan College, and her Master of Fine Arts from Illinois State University. Priscilla is currently the Resident Artist at Rochester Institute of Technology.

Kar Yee Lo’s work highlights the astute way in which our inherent patriarchal society has affected the Asian female position within its structure and how it maintains control through cultural and social expectations and normalized gender roles. She employs visual language containing artifacts of patriarchy from her childhood that have since become pop culture icons. The symbolism of these images is far removed from their original medium and their patriarchal foundation, making them easy to manipulate and go undetected while subtly reinforcing social norms and binary systems.

Top: Priscilla Kar Yee Lo. Middle: Evolution: The Theory of “The Asian Mystique.” Mould blown glass, digitally enhanced plaster. 5.5” x 4.5” x 12” (each, 8 shown), 2019. Photo by Katarina Kaneff. Bottom: My Little GroomMe playset, Gilded Memories: Interactive Series. Kiln formed glass, bronze, human hair, mix media. 6” x 4.5” x 6”, 2020. Photo by B. Fortuné.

The globalization of the iconic Hello Kitty character has an undeniable relationship with the maintenance and propagation of the controlling images of Asian females in the West. Hello Kitty is a recurring image in Kar Yee Lo’s work because she is a universally recognizable icon in pop culture that dictates Asian female identity. This is characterized by cuteness, meekness, submissiveness, and a playfulness that can be interpreted as provocative, blurring the line between innocence, vulnerability, infantilization, and sexuality. Stereotypes are not false, rather they are an arrested representation of a changing reality. By employing pop culture icons rooted in systemic patriarchy to highlight the intersectionality of being a minority female, Kar Yee Lo hopes to advance this changing reality. She views this as an act of defiance, taking back a symbol of oppression to create a counter narrative that serves to empower Asian females. Ultimately, she views her work as a nostalgic and whimsical, yet mischievous way of documenting where women, particularly immigrant women, are placed within a societally prescribed racial framework.

Kar Yee Lo hopes to initiate discourse about this reality to validate our collective experiences and raise awareness of the continual existence of these issues.

Sadhbh Mowlds

Sadhbh Mowlds is a visual artist who was born and raised in Dublin. After receiving her BA from the National College of Art and Design, Ireland (2014), she moved to Germany where she worked as a freelance glassblower out of Berlin Glas. In 2019 she moved to the U.S, where she received her MFA from Southern Illinois University Carbondale (2022). Recent residencies include the RHA (Dublin, IE), WheatonArts (NJ) and STARworks (NC). Mowlds has participated in numerous international exhibitions, showing throughout Europe and the USA. Her work is included in the permanent collections of Kunstsammulungen Coburg, Germany and the Museum of American Glass, NJ.

Existing in the realm of the uncanny, Mowlds’ work strad-

Top left: Sadhbh Mowlsa. Right: Impressionable (detail.) Mirrored glass; silicone; human hair; foam; jewellery. Sculpting/ mold-making/ kiln-forming/mirroring/ silicone-casting. H18” x D10” x W1. Year: 2021. Photo Credit: artist’s image. Bottom left: Impressionable. Mirrored glass; silicone; human hair; foam; jewellery. Sculpting/ mold-making/ kiln-forming/mirroring/ silicone-casting. H18” x D10” x W1. Year: 2021. Photo Credit: artist’s image.

dles the line between hyper-realism and surrealism to create absurd yet recognisable realities that challenge prevalent and destructive social constructs. Her fixation on the human ability to contemplate is at the core of her pursuit, which reveals the absurdity of the beliefs, behaviours and perceptions of our species. As she often approaches these themes through the lens of her own frustration and vulnerability as a woman, Mowlds explores the phenomenon of consciousness and what it is to be self-aware.

Using the body as an emissary, she probes the delicate boundary between our internal and external self, describing the impact societal perceptions of gender roles, value systems and class divides have on our suffering consciousness. This investigation culminates in bizarre, bodily sculptures that emphasise the restrictive bond we have with our flesh and the social situations that come along with it. Existentialist theories, such that of De Beauvoir and Sartre, resonate with Mowlds’ own musings about identity and societal behaviour, fueling the manifestation of her work and providing solace in

an upturned, modern society. As a sculptor, material usage and skill-based processes become integral to her practice, in which Mowlds sculpts by hand each wrinkle, crease and pore of the skin we are confined within. Working in an array of materials, most notably silicone and glass, Mowlds creates grotesquely life-like work that begs the viewer's contemplation, while initiating difficult, but critical, conversations.

Abegael Uffelman

Abegael Uffelman earned her Bachelor of Fine Arts from Tyler School of Art, Temple University in 2019. Her work has been featured and awarded at Bullseye Glass Transitions in Kiln-Glass Exhibition, where she earned first place in the emerging artist category, and the Glass Art Society International Student Exhibition in 2019. Uffelman has been a Visiting Artist at Tyler School of Art and Worcester Center for Craft. In 2023, she completed the Better Together Residency at Pilchuck Glass School. Currently, Uffelman is the

Top left: Abegael Uffelman. Top right: Everyday, Glass, Text Print. Flameworked Glass, Cold Application. 24”x24”, interactive. Photo by Haigen Pearson. Bottom left: liar. Mirror. Waterjet Cut, Coldworked. 8”x24.” Photo by Abegael Uffelman.

Program Coordinator and an instructor at glass non-profit, Foci Minnesota Center for Glass Art in Minneapolis, MN.

As a glass and mixed media conceptual artist I relate the physical qualities of my work to societal disparities. I analyze concepts of social interaction, politics, identity, and memory through creating physical objects and installations that others can relate to. Through glass and mixed media objects and installations, I blur, distort, and obscure information; curating how people view these topics.

I strive to understand the relationships and connections between others, both intimate and fleeting. Growing up as a transracial, Asian adoptee in a White family has impacted my life in a profound way. My work is a comment on situations my family and I have faced in American society-from personal reflection into adoption records to racial microaggressions.

Top left: Always, with Wings Edition (Maxi, CrimsonTide, MoonTime), My Little GroomMe line, Priscilla Kar Lee Yo. Kiln formed glass, gold, human hair. 6” x 4” x 7” each, 2022. Photo by B. Fortuné. Right: The Wait, Sadhbh Mowlds. Blown glass; mirror; silicone; human hair; foam. Glass-blowing/ Sculpting/ Mold-making/ Silicone Casting. H15” x D16” x W10.” Year: 2023. Photo Credit: artist’s image. Bottom left: was it a lie, Abegael Uffelman. Sheet Glass, Mirror, Paint. Cold Application. 26”x32.” Photo by Abegael Uffelman.

My work spans several topics, recently including the act of lying as a result of experiencing grief and loss. Lies are abundant, inevitable, inescapable,routine, even expected and desired. Infinite. From young to old, perpetrators and victims of lies include every single person in existence. Mirroring the stages of grief, over time I learned to accept what lies are and their function in society. From personal impact to societal expectation and political governance, lies are reality and they are a version of truth.

This work is personal, but it extends a universal welcome to those who have felt the pain of loss, or been hurt by systems of power, angered by our status quo. And if they don’t personally, deeply connect, they tell a story, a step towards understanding.

EXHIBITIONS

This year’s exhibitions featured a truly global array of work that showcased techniques from the entire spectrum of glassmaking techniques and wonderfully represented the conference’s theme, Where Art + Design Meet. We received 158 entries from 40 countries: Australia, Austria, Brazil, Bulgaria, Canada, China, Colombia, Croatia, Czechia, Denmark, Estonia, France, Germany, Hong Kong, Hungary, Iceland, India, Iran, Ireland, Italy, Japan, Latvia, Lithuania, Mexico, Morocco, The Netherlands, New Zealand, Norway, Poland, Republic of Korea, Russia, Slovenia, South Africa, Spain, Sweden, Switzerland, Türkiye, United Kingdom, United States, and Wales. View our 2024 exhibitions online through April 2025.

Conference attendees were wowed by the art on display in our exhibitions.

GAS STUDENT EXHIBITION

EVOLUTION 2024: A Showcase of Emerging International Talent

View online at glassart.org/evolution-2024

FIRST PLACE

Brooklyn Roots, Boricua Branches: After Dos Corazones by Noemi Nieves-Hoblin

Noemi Nieves-Hoblin (United States), “Brooklyn Roots, Boricua Branches: After Dos Corazones,” stained glass, 2023. 15 x 15 x 1”.

SECOND PLACE

Particles of Freedom by Xiaozhe Huang

Xiaozhe Huang (China/Italy), “Particles of freedom,” lampworked Murano glass, sterling silver, 2023. 4.2 x 3 x 1.5 cm.

THIRD PLACE

Let’s meet in a better times by Julia Ciułek

Julia Ciułek (Poland), “Let’s meet in a better times,” blown glass, plastic water pump, 2022. 40 x 45 x 15 cm.

GAS MEMBER EXHIBITION

CONNECTION 2024: Glass From Every Angle

View online at glassart.org/connection-2024

FIRST PLACE

Towel Rack by Narrae Kang

Narrae Kang (Republic of Korea), “Towel Rack,” cold worked and engraved glass, window frame, brass, 2023. Photo credit: Gun Ha Park. 111.7 x 59.3 x 3 cm.

SECOND PLACE

Boolean Sweep by Joshua Kerley and Guy Marshall Brown

Joshua Kerley + Guy Marshall Brown (United Kingdom), “Boolean Sweep,” kilncast glass foam, 2024. 40 x 24 x 24 cm.

THIRD PLACE

Flying Bird with Seven Lenses by Kirsti Taiviola

Kristi Taiviola (Finland), “Flying Bird with Seven Lenses,” blown glass, light, mixed media, 2023. 2.5 x 2.5 x 2.5 m..

T RACE 2024: An Exploration of Sustainable Glass Art

View online at glassart.org/trace-2024

FIRST PLACE

Midden by Karen Browning and Jon Lewis

Karen Browning + Jon Lewis (United Kingdom), “Midden,” B&O Beovision 1 television - glass, copper aluminium, plastic, resin, steel, hot cast, kiln cast, and machined, 2024. 120 x 9 x 165 cm.

SECOND PLACE (4-WAY TIE)

Golden Tree Paperweight by Lynden Over and Christine Robb

Lynden Over + Christine Robb (New Zealand), “Golden Tree Paperweight,” hot-sculpted glass, 2023. 17 x 11 x 11 cm.

SECOND PLACE (4-WAY TIE)

Architectural Panel by Balázs Telegdi

Balázs Telegdi (Hungary), “Architectural Panel,” vitreographed glass, glass threads, float glass, aluminum, silicone, 2023. Photo credit: Anett Demeter. 1200 x 750 x 9 mm per panel.

SECOND PLACE (4-WAY TIE)

Thames Glass by Lulu Harrison

Lulu Harrison (United Kingdom), “Thames Glass,” mold-blown sand, wood ash, shells, flux, 2022. Photo credit: Ben Turner. 26 x 33 x 10 cm.

SECOND PLACE (4-WAY TIE)

DAILY DOSE by Marta Ramírez

Marta Ramírez (Colombia), “DAILY DOSE,” flameworked and cold worked borosilicate glass, 2023. 11 x 4 x 4”.

LECTURES

Allison Lowry discussed her work during her lecture.

Is Glass Queer? Or Is It Just Me?

By Phillip Murray Bandura

In this article, I reflect on my lecture titled “Is Glass Queer? Or Is It Just Me?.” I delve into my experience delivering the lecture and the insights I gained from it. The lecture explored the intersection of glass art, queer identity, and queer theory, and examined how glass, as a medium, embodies queer qualities and how the Studio Glass Movement exhibits queer characteristics as well.

Introduction

The event began with a warm introduction by Michael Saroka, the current president of the Glass Art Society (GAS). Michael highlighted my educational background, noting that I earned my MFA from the Alberta University of the Arts in 2022, where I studied under Natali Rodrigues. He mentioned my role as a founding member of the Calgary-based Canadian glassblowing collective Bee Kingdom, which operated from 2005 to 2020. He also noted that Elton John has collect-

ed one of my artworks. I had to correct him when I started the lecture as Elton had collected four of my artworks. This correction provided me the chance to give Michael a lighthearted ribbing to start, setting the tone for a cheeky and humorous presentation.

During my lecture, I brought a disco ball and a bubble maker to set the mood, though I never explained their presence. In hindsight, this omission added a layer of queerness to the talk itself. The unexpected effect of the bubble maker, creating a mountain of bubbles that queerly wiggled and waltzed in front of the stage as I spoke, further contributed to the whimsical and unconventional atmosphere, reinforcing the theme of queerness in both the medium of glass and the lecture experience.

I also failed to mention that the disco ball and bubble maker were donated to Berlin Glass e.V. to proliferate their use in glass hot shops. If you would like me to come to your institu-

tion to give this lecture, you will also get a disco ball and bubble maker!

Understanding “Queer”

When encountering the word “queer,” interpretations vary widely based on personal experiences. As a 42-year-old gay man who identifies as queer and grew up in a middle-class home in Calgary, Alberta, Canada, my perspective is shaped by these contexts. Historically, “queer” has had multiple connotations. According to the Oxford English Dictionary (OED), the term has been in use since the 1500s to denote something strange, odd, peculiar, or of questionable character. By the early 1900s, it evolved into a derogatory term for homosexuals. In recent decades, however, the LGBTQ+ community has reclaimed “queer” as a term of empowerment, celebrating gender diversity and inclusion, and it is now frequently used in gender studies and queer theory1

In my lecture, I utilized “queer” in both its historical sense of being strange or odd, its contemporary usage within the LGBTQ+ community, and finally, the liberal arts academic context of queer theory. I view “queer” as a symbol of infinite possibilities, this is mirrored in the queer approach the Studio Glass Movement takes to its exploration of the artistic possibilities of glass.

The central questions of my lecture involved some wordplay: “Is glass queer? Or is it just me?” Here, I explored three facets. First, I affirmed my own queer identity and how it relates to my approach to glass as an art form. I began my glass education at the Alberta College of Art and Design from 2001–2005 under Norman Faulkman, who initiated the glass program there in the mid-1970s. The program is characterized by an

open, exploratory approach to glass. I have seen this approach mirrored in many other Studio Glass Movement institutions. This open-ended exploration of glass paralleled my personal journey of self acceptance to come out as gay, and then as queer, thus making glass an inspiration in my self-discovery.

Sara Ahmed’s concept of “queer use” from her book What’s the Use?: On the Uses of Use? was instrumental in this development. Ahmed defines “queer use” as improper use, repurposing things or ideas in ways they were not originally intended2 The Studio Glass Movement, with its emphasis on exploring the potential of glass, consistently engages in such “queer use.”

Dr. Jane Cook’s work further elucidates the queer nature of glass, specifically in their lecture “Glass is a Verb, and So Are You”3. Dr. Jane Cook explains how glass is an amorphous solid, meaning glass is inherently disorganized at the molecular level, which is counterintuitive and thus queer.

The Queerness of Glass in Society

Isobel Armstrong’s “Victorian Glassworlds: Glass Culture and the Imagination 1830-1880” explores how glass has radically transformed our world4. Glass has expanded human understanding of the macro and micro worlds through inventions like the telescope and microscope. The omnipresence of reflections in mirrors and windows in modern cities has also altered self-perception, promoting a broader, more inclusive sense of identity—an inherently queer characteristic.

The performative aspect of glassblowing within the studio glass movement further exemplifies its queerness. Studios worldwide, such as the Museum of Glass in Tacoma, the Corning Museum of Glass, and the Glass Furnace in Turkey, feature auditorium-style seating for glassblowing demonstrations and performances. Portable glass studios and those on cruise ships also highlight the performative, and thus queer, nature of glass art and how it is made.

Glass, Parties, Disco Balls, and Drag

After visiting many glass studios over the years I noticed many studios had a disco ball. During my time at Pilchuck Glass School from 2003 to 2011, a disco ball often adorned the studio, facilitating dance parties. The disco ball was one that Karen Willenbrink-Johnsen brought to the school, and it underscores the glass community’s love for celebration and performance, akin to the drag community’s spirit. The connec-

1 “Queer, Adj.1 Meanings, Etymology and More | Oxford English Dictionary,” n.d. https://www.oed.com/dictionary/queer_adj1.

2 Ahmed, Sara. “Conclusion: Queer Use.” In What’s the Use? On the Uses of Use, 197–229. Duke University Press Books, 2019.

3 Cook, Jane. “Glass Is a Verb, and so Are You by Jane Cook.” Knowledge Stream, n.d. https://www.knowledgestream.org/presentations/bon-bon-chemistry-chocolate.

4 Armstrong, Isobel. Victorian Glassworlds: Glass Culture and the Imagination 1830-1880. OUP Oxford, 2008.

5 Issuu. “2023 GAS Journal Detroit,” November 3, 2023. https://issuu.com/glassartsociety/docs/2023_gas_journal.

tion between the glass and drag community is profound. You can look at “Laura Donefer’s Glass Fashion Show” that first happened in 1989 as part of the joint conference between GAS and the Glass Art Association of Canada in Toronto, Canada to see one of the spectacular connections the Studio Glass Movement has with the drag community5

Just as the glass community has various teaching institutions worldwide that revolve around mentorship and learning by demonstration, the drag community comprises houses and groups where drag mothers mentor their drag children. For my master’s thesis, I asked Norman Faulkner if he would be my queer glass drag mother, to which he agreed, and I was ecstatic.

Julia Bryan-Wilson’s “Fray: Art and Textile Politics,” particularly the chapter on queer hand making, introduced me to the Cockettes, a drag performance group6. The Cockettes’ DIY ethos resonates with the countercultural beginnings of institutions like Pilchuck Glass School, emphasizing a playful irreverence similar to what I learned from people like Norm

Faulkner, Stephen Paul Day, and at institutions such as BildWerk Frauenau in Germany and Pilchuck Glass School.

My Queer Work: “Shiny Shit”

Concluding my lecture, I reflected on my own work and its queer qualities. My art embodies a camp sense of humour, heavily influenced by a Canadian perspective. Susan Sontag’s “Notes on Camp”7 and John Waters’ work informed my understanding of camp, which is evident in my community’s piece “Shiny Shit.”

“Shiny Shit” refers to the blobs of glass created when learning to blow glass. While these blobs might seem trivial to the untrained eye, they represent a journey and experience to a glassblower. During my thesis exhibition, I stayed in the gallery for two weeks, inviting visitors to adopt a “Shiny Shit” with adoption fees based on weight. I would tell people, “I have more shit than I can handle, and my shit could become your shit.”

This work finds humour in adversity, drawing on my experiences as a queer man. I aim to make people laugh at life’s struggles, finding levity in difficult times. The communal experience of the COVID-19 pandemic reinforced the importance of seeing positives amidst challenges. “Shiny Shit” serves as a reminder that even in the face of adversity, there is beauty and humour to be found.

The work is inclusive, recognizing that everyone faces struggles and has the capacity to find joy. “Shiny Shit” makes a meaningful keepsake or gift, embodying the complexities of our relationships and experiences.

The queerness of glass is multifaceted, encompassing its scientific properties, societal impact, performative nature, and connection to the drag community. Through my work, I celebrate these queer qualities, using humour and camp to navigate and reflect on my own identity and experiences.

Queer Conclusion

I believe that an open approach to the material of glass inherently embodies queerness. This openness has fostered a glass community that embodies many queer qualities. Just as glass is queer, so am I. I hope that recognizing and embracing the queer qualities in glass can inspire glass enthusiasts and everyone to accept and celebrate the diverse differences that make our world so rich and vibrant.

6 Bryan-Wilson, Julia. “Queer Handmaking.” In Fray: Art and Textile Politics, 39–105. University of Chicago Press, 2017.

7 Sontag, Susan. Notes on Camp. Penguin UK, 2018.

Reviving Iridescent Magic: A Contemporary Approach to a Centuries-Old Craft from Mesopotamia to the Present

By Fatma Ciftci

While the term "Mesopotamian" is used in the caption of this photo, the artifact itself originates from the 8th century. The term Mesopotamia was used to refer to a particular geographical region that played a significant role in the early history of glass. This method is part of the cultural heritage of Islamic lands.

Paste luster is a decorative technique using metal salts, coloring oxides, and carrier materials on glass surfaces. It creates shimmering pearlescent images by creating a reducing atmosphere in a kiln at the glass's transformation temperature. This creates a thin metallic layer, known as "luster," which produces a pearlescent effect in natural light.1

The paste luster technique on glass surfaces has declined in use over time, while its use on glazed ceramic surfaces continues to advance. Previous research focused on investigating the presence of genuine gold in artifacts where scientists examined

Figure 1. 753-755, Egypt-Abbasids 8th century AD (Cairo Museum of Islamic Art, 2023, https://www.miaegypt.org)

metallic nanoparticles on the surface to understand their visual appearance. Materials used to produce luster remain unchanged, with copper, iron, and silver nanoparticles found on metallic layers. So far, we have found one article where the researchers attempted to apply this technique to glass.

The objective of this study is to create our own formulas by building upon formulas that have been utilized since the 8th century. The formulas created in our experiments were derived from an 8th century manuscript, Kitab al Durra Al Maknuna, authored by Jabir Ibn Hayyan. New formulas are applied to glass surfaces with various structures.

A Brief History of Luster Paste

Figure 1 displays the earliest known example of a glass piece decorated with luster paste. The origin of luster paste on glass is debated, with some suggesting it was first used in Basra2 during the 8th century or Kasr-ul-Hayr al-Sharqi, a Syrian palace city under Umayyad caliph Hisham Abd al-Malik3, both within the Abbasid-era geographical scope.

Method

Formulas: The manuscript contains formulas containing hazardous substances like mercury and arsenic, which have been eliminated. We aim to minimize potential damage to raw materials. Some formulas use obsolete weight units, while others use modern weight units. We have chosen to use one type of weight unit for all formulas.

Glass: We conducted our experiments on alkali-silica glasses, including both window glass and pre-manufactured glassware.

Kiln and Reducing Atmosphere: The paste luster decorations applied on glass were subjected to firing in a reducing environment using an 80-liter ceramic kiln fueled with a mixture of LPG (70% butane and 30% propane gas). We utilized gas to generate a reducing atmosphere.

1 Çiftçi, Fatma. 2024. “Cam Yüzeylerde Macun Lüsteri Araştırmaları”. PhD diss., Dokuz Eylul University.

2 Neu Keramik, 1992

3 Al-Hassan, Y. 2009. “An Eighth Century Arabic Treatise on the Colouring of Glass: Kitab Al-Durra Al-Maknuna (The Book of Hidden Pearl) of Jabir Ibn Hayyan (c.721-c.815)” Arabic Sciences and Philosophy 19, 121-156. DOI:10.1017/S0957423909000605

An oxygen probe was used to calculate the atmosphere within a kiln, indicating the minimum oxygen concentration and corresponding temperature. This was crucial for determining the duration required to achieve the desired color under reducing variables, as it quantifies the oxygen concentration in the atmosphere.

What is A Reducing Atmosphere?

The firing technique in a reducing environment can be briefly described as the combustion process that takes place when oxygen ions are reduced in an environment lacking sufficient oxygen.4 To achieve luster effects, it is essential to ensure ion exchange in a reducing atmosphere at the conversion temperature of the glass (viscosity 103-8) after the paste mixture is applied to the glass surface. The expression “duration of reducing atmosphere” in the text corresponds to the lowest oxygen level that the oxygen probe shows as 1,0 λ on the screen.5

Determination of Softening Point of Window Glass

An experiment was conducted to determine the softening temperature of window glass, based on the manufacturer's information. The glass was exposed to temperatures ranging from 600-700°C without any hold. The results showed that the glass did not bend at 600°C, moved downwards at 630°C, bent at 650°C, and broke free at 700°C after 27 millimeters of bending.

Implementation and Conclusion

Calcination removes crystalline water, lowers melting point, and reduces molecular weight of raw materials, making it sufficient for carrier raw materials to maintain ion exchange in a reducing atmosphere. The carrier raw materials utilized in this study had calcination at a temperature of 900°C.

Table 1 demonstrates the alteration made to the luster paste formula by modifying the carrier raw material. The formulas and variable carrier raw materials as shown in Table 1. In variant A, 1.5 grams of kaolin were added, in variant B, an equivalent amount of Sal-ammoniac was added, and in variant C, the same quantity of red clay was used as the carrier raw material. All the samples were fired in the same kiln, during which the oxygen content reached its minimum level for a duration of 6 minutes, within a temperature range of 650 to 482 degrees Celsius. So far, ceramists who work with luster have categorized ingredients as colorant and carrier

raw materials. However, as a result, we observed that each of the outcomes exhibited a distinct color. When combined with coloring raw materials, they changed luster color and display a coloring effect. Cobalt oxide, a raw material used for coloring, has the ability to act as both a carrier and a coloring agent due to its formation at high temperatures. Iron oxide, also having coloring properties, can be used as both a colorant and carrier. It is not possible to precisely define the raw materials

Kaolin Sal ammoniac Red Clay A B C

Carrier Raw Material:

Kaolin 1,5 gr

Carrier Raw Material: Sal-ammoniac 1,5 gr

Coloring Raw Materials of the Formula

Coloring Raw Materials Amount (gr)

AgNO3 1 Fe2SO4 2 CuNO2 2

as either colorants or carriers, as this distinction depends on the specific conditions.

Table 1. The Color Impact of Carrier Raw Materials

Figure 2 shows that window glass with higher iron content, like A and B, and glassware with lower iron content, like C and D, have different colors. Both types were painted with the same luster formula and fired in the same kiln. It was subjected to a reducing atmosphere for a duration of 14 minutes, with temperatures ranging from 607 to 476 °C (1124 °F to 888 °F). As a result, the luster color of glass varies based

4 Tanaka, Y. (. (2007). Ion Exchange Membranes Fundamentals and Applications. Amsterdam: Elsevier. 5 Çiftçi, Fatma. 2024. “Cam Yüzeylerde Macun Lüsteri Araştırmaları”. PhD diss., Dokuz Eylul University.

on its composition, with glassware resulting in a platinum hue (Fig.1,C,D) and window glass a reddish tint (Fig.1,A,B).

Ion exchange and luster effects occur at the transformation temperature of glass (538-677 °C) after passing the thermal shock range (440-505 °C). Annealing cannot be done later due to luster formation reversing in an oxidizing atmosphere. Annealing temperature is close to the luster's fixed temperature, and temperature cannot be raised again because the atmosphere does not have any oxygen left for burning. This method cannot remove thickness-related stresses. Nevertheless, all of the samples remained unbroken. Figure 4 shows the stress on the glass in the polariscope. Figure 3 shows the glass before (A) and after (B) firing, illustrating the stress level within the glass. Distinct and sudden color shifts suggest increased stress in glass, while no tension or stress exists between the material and formula.

The process of ion exchange in a kiln is essential for achieving specific colors. This is because the formulas containing iron compounds need to interact with copper Compounds, and careful attention must be given to the interaction between these formulas in order to obtain the desired color.

To prevent a smoky appearance on glass surfaces in a kiln atmosphere, oxygen is introduced during the cooling process at 400-480 C.

A paste luster is effective when its consistency is watery enough for dip pen writing, achieved by combining vinegar, water, and propylene glycol (Figure 4).

The optimal temperature range for atomic mobility depends on the ionization capacity of the paste formula and glass atoms, with close synchronization between them for desired luster. The paste luster should be maintained at an optimal

temperature, and for sharp lines, the heat should be synchronized with the glass transformation point.

Glass thickness of 1 cm contains higher stress than a glass thickness of 4 mm due to the inability to create a controlled cooling program after annealing due to the reducing atmosphere in the gas furnace.

Resources

Al-Hassan, Y. 2009. “An Eighth Century Arabic Treatise on the Colouring of Glass: Kitab Al-Durra Al-Maknuna (The Book of Hidden Pearl) of Jabir Ibn Hayyan (c.721-c.815)” Arabic Sciences and Philosophy 19, 121-156. DOI:10.1017/S0957423909000605 Çiftçi, Fatma. 2024. “Cam Yüzeylerde Macun Lüsteri Araştırmaları”. PhD diss., Dokuz Eylul University.

Cairo Museum of Islamic Art, 2023, https://www.miaegypt.org

Neu Keramik.1992.s.370

Tanaka, Y. (. (2007). Ion Exchange Membranes Fundamentals and Applications. Amsterdam: Elsevier.

Figure 2. Same formula, but with a distinct type of glass.

Figure 3. An Image Captured by A Polariscope

Figure 4. Different Consistency of Paste Luster Formula

Why Glassblowing is Irrelevant

By John Erwin Dillard

On October 7th, 2023 I became witness to what would become the darkest event to unfold in my lifetime. I had been working on my lecture Why Glassblowing is Irrelevant for two months. In those two months and beyond I received multiple communications about the title of my lecture being “offensive.”

My then graduate advisor came to me and said she had received criticism that my lecture deeply offended one or more people. At the time, the lecture and its title were not yet public. Colleagues told me I should change the title, because no one would come. I was advised against presenting such a controversial opinion. I was asked by a trusted mentor if I “was doing this to hurt other people’s feelings.” It went so far that there was a period I believed the lecture would be censored.

Seven more months went by, and the conflict only escalated. A global dissention was taking place around me. The earth started to move in a different way. The world grew quieter. Outbreaks of divisive antagonism proliferated all around. A pestilence of rage, censorship, and prejudice gently blanketed

the earth. Yet, my proposition on glassblowing was still considered offensive.

For these reasons, I knew giving this lecture was even more important. As an academic, I would never waste the saliva to personally attack any individual. It is my occupation to question systems of power. Scholarship, for me, is about the search for freedom. Academia is a place where we may challenge the structures that hold others in bondage. These opportunities are a bastion which hold humanity up against total disorder. The disorder, subjugation, and systems of oppressive power do not exist separately. Glassblowing does not exist in a magical vacuum where we melt sand and sing kumbaya.

In terms of the scale in which human life exists, glassblowing is irrelevant. However, it is what we can do with glassblowing that matters. When glassblowing can become a mechanism to dismantle the white supremacist capitalist patriarchy then it will truly matter. In my lecture I described why, how, and if this is possible. I believe it is.

Henceforth, I allocate the remainder of this entry to author bell hooks, a revolutionary American author who defined white supremacist capitalist patriarchy. I believe it should be her own words which you come to understand what it is I’ve said.

bell hooks, CULTURAL CRITISICM & TRANSFORMATION, 1997

“I began to use the phrase in my work “white supremacist capitalist patriarchy” because I wanted to have some language that would actually remind us continually of the interlocking systems of domination that define our reality and not to just have one thing be like, you know, gender is the important issue, race is the important issue, but for me the use of that particular jargonistic phrase was a way, a sort of short cut way of saying all of these things actually are functioning simultaneously at all times in our lives and that if I really want to understand what's happening to me, right now at this moment in my life, as a black female of a certain age group, I won't be able to understand it if I'm only looking through the lens of race. I won't be able to understand it if I'm only looking through the lens of gender. I won't be able to understand it if I'm only looking at how white people see me.

when we use the term white supremacy it doesn't just evoke white people, it evokes a political world that we can all frame ourselves in relationship to.

And I think that I was able to do that because I grew up, again, in racial apartheid, where there was a color caste system. So that obviously I knew that through my own experiential reality, you know, that it wasn't just what white people do to black people that was wounding and damaging to our lives, I knew that when we went over to my grandmother's house, who looked white, who lived in a white neighborhood, and she called my sister, Blackie, because she was dark and her hair was nappy and my sister would sit in a corner and cry or not want to go over there. I knew that there is some system here that is hurting this little girl, that is not directly, the direct hit from the white person. And white supremacy was that term that allowed one to acknowledge our collusion with the forces of racism and imperialism.”

To me an important break through, I felt, in my work and that of others was the call to use the term white supremacy, over racism because racism in and of itself did not really allow for a discourse of colonization and decolonization, the recognition of the internalized racism within people of color and it was always in a sense keeping things at the level at which whiteness and white people remained at the center of the discussion. In my classroom I might say to students that you know that

Radical ideology will always offend hegemonic systems of power. When power is consolidated it is the best interest of supremacist to silence us. Offensiveness can be our power. May bell hooks rest in power. May her words guide us into seeing new and better possibilities for our world. Every day we are able to search for those possibilities is a gift. I am eternally grateful to have had the opportunity and privilege to share these thoughts.

CAD and Glass Integration

By Ryan Kuhns

Computer Aided Design has always been a part of my glassblowing process. Whether it be multimedia adornments or custom tools, CAD plays an integral part in my finished products.

My journey with CAD began in jewelry design, however, at present, I am predominantly a flameworker and freelance CAD designer. After double majoring in Metals/Jewelry/ CAD-CAM and Glassblowing, I couldn’t leave either world behind. In the past I've worked as a jewelry designer and have experience in the hot shop as well. Throughout the years I have more or less combined those aspects into my work melding elements of each discipline. I’ve learned my creativity and skill in design is best expressed through CAD as a tool to “get things on paper.”

Some of the ways in which I have used CAD include designing and printing adornments for lampworked glass pieces, designing molds for lampworking, resin castings, and tools, as well as design and layout.

One of the first ways in which I combined CAD and 3-D printing with glass as a professional artist is with adornments. At the time I was working at a jeweler doing custom engagement jewelry and remounting projects. I was strongly influenced by this work and used the aspects of my jewelry designs to create the adornments I was adding to my glass. As you can tell, the jewelry influence is strong with these. It challenged me to design and print in a way that allowed both stone setting and attachment to borosilicate glass. For this, I used CAD to design the adornments, printed them on a SLA machine, and electroformed them onto the glass.

When I first started this body of work, desktop 3-D printers were just emerging and my process was much different and sometimes required outsourcing. However, as the technology progressed, it became easier to use these tools in house to incorporate printing with my body of work. I began printing in my studio using a Form1, which is a desktop stereolithography printer. The reason I chose SLA printers with a laser and resin vat is because the build lines are very minimal, and with electroforming, they would be invisible once electroformed over. This process was used for specific designs that were electroformed individually as well as electroformed onto glass. I ultimately used this printer for making reliefs for other mold, jewelry, and sculpture projects. It has been a part of a variety of different styles of work I’ve produced.

Eventually I wanted to move on from some of my multimedia work and to streamline my process. This takes us into the tools and molds aspect of my work. I wanted to use my skill in CAD and my love of using molds with glassblowing. There is some overlap here with my molds and electroforming work, however once I got my two-part machine running, I stopped with the adorned components and mostly stopped electroforming as well. I reflected back on when I was in college and used blow molds to create lighting pieces. I used traditional methods then, but became set on incorporating my newer skills with borosilicate molds. There is something meditative in using molds to create a whole piece out of many multiples. I missed that work and wanted to bring it to the torch.

I started with basic truncated designs to create triangular, square, pentagonal, and hexagonal borosilicate tubing while simultaneously working on a two-part mold system. I am drawn to geometric shapes in glass for several reasons. First, due to glass’s natural desire to be round, using blow molds to create glass that has sharp edges is both visually appealing and rewarding to accomplish. Secondly, I draw inspiration from designs in architecture and architectural elements. Using straight lines, shapes and multiple elements to create larger pieces is rewarding.

At this point, I had established a studio set up that included

Kuhns Calmbo collab, photo credit Alex Reyna, “Archaic Aviator’ collaboration with Calvin Mickle ‘calm” 2016, borosilicate glass, photopolymer resin, copper 10x12x19 inch

Clockwise from left: Kuhns Presence of exposure, photo credit Tim Malone, “Presence of Exposure” 2009, Soft glass, rope, 4x4x20 foot

Kuhns solo electroform “hand pipe with electroformed set stones” 2012, borosilicate glass, photopolymer resin, copper, cubic zirconia 4.5x1.5x2 inch

Kuhns solo travelers and explorer, photo credit Scott Southern, “Geo travelers and explorer set” 2020, Borosilicate glass, 2x2x3, 4x3x6 inch

not only the SLA printer but FDM printers as well, broadening my printing abilities for what would ultimately be cast for the mold machine. Both my one- and two-part molds were designed in CAD and printed on either my FDM or SLA machine, molded, and cast in bronze.

I designed the two-part mold machine in CAD and tested several versions by laser cutting MDF board to test its functionality. Once I was satisfied I had it water jet cut out of ¼ inch steel. The machine operates using a foot pedal and pneumatic cylinder. This exact machine is the same one I've used since 2017. The shapes I’ve designed for this two-part mold are used to blow a variety of different borosilicate pipe designs.

Recently, I have been able to utilize both the progression of my skill set and the progression of technology in designing, printing, and casting. My most recent project brought me to

design and manufacture a four-part mold machine in house. I have significantly less limitations in design and production with a four-part mold versus the two-part mold.

The design limitations of two-part molds had me struggling and I felt a bit stuck so about a year ago I became determined to resolve the issue. With the amount of trial-and-error I knew was in store I went to my computer knowing I had to think outside the box. Ultimately I decided to use only the tools and processes I have at hand with the addition of some readily-available components.

I am thrilled to have completed the new machine. It took countless design hours and hundreds of hours on my print farm but keeping it in house helped me have a lot of control over the outcome and allowed for small tweaks to be made consistently, creating a clean and refined machine. Moving forward, this machine and the production of new molds will give me the opportunity to create the unique borosilicate glass designs I imagine, and maybe even get me back in the hot shop.

How We Built the Heaviest Glass Sculpture (Probably)

By Daniel Kvesić, Bokart Glass

To be involved in building a monument to your homeland, in your town, and to build the biggest glass wall ever was challenging. Croatia is a relatively new democratic country, although we have been here for centuries. The country was founded after the bloody war that swept through the former Yugoslavia and transformed the region into new flags and banners. Croatia has exited the war with scars and war memories, and a call went out to create a national monument that acknowledged the history that defined our nation, the present, and the future. Monuments have always been a reminder to the victory of freedom and the obstacles that needed to be conquered for that victory.

Where did the inspiration come from and why did we need to build this long wall? During the war, common people searched for people who were missing. To express their anger and to demonstrate their fight against oppression, they started to build a wall of bricks with names of missing people on it in front of the UN office in Zagreb. In the end, that wall was made out of the solid bricks and was 47 meters long. The wall became a symbol of fighting for freedom and praying for peace.

Many years later that wall served as inspiration for a monument

to represent a past and proud nation that stood its ground in crucial moments of one nation.

The architect Nenad Fabijanic, a most respected professor at the Academy in Croatia, became a leader on the monument project and asked us, along with the artist Jeronim Tisljar, to create a glass wall that was 47 meters long and 3 meters high. The initial idea was to create a wall of hollow glass bricks, but the request was that the wall needs to be transparent, solid, translucent, and built with the highest optical-quality glass that can be found.

That first task was difficult enough since the project was approved just at the end of 2019 and the COVID-19 pandemic shut down production. The European market could not provide us with any quality producer that could provide the glass before lockdowns began and with all the restrictions placed, so we had to look further from the EU zone. Before choosing the glass and style of assembling, we looked at similar projects such as Crystal House Netherlands, Atocha Memorial Spain, and Qwalala monument in Greenland where various glass blocks and assembling techniques were used. All

these projects had different styles and problems, but none of them were meant to be this long and this heavy.

Our biggest issue was to find a super stable solid and super transparent glass. In the end, we decided to use a borosilicate glass block that was mold-blown to be 45 x 35 x 7 cm. The only producer available was in China, which had the ability at that time to produce and deliver solid blocks. We sent all the details, they replied and made beautiful samples that we tested to hold three tons. The next most difficult task was to find the best silicone to hold everything in place. As we have seen in other case studies, the silicone must be very solid, but very flexible and durable, so that means a type of hybrid silicone with extra transparency. After testing, we chose the Soudal Crystal Fix-all Hybrid Adhesive Super Transparent sealant that was UV stable, mold resistant, and very solid after various tests were made.

Since the wall is 47 meters long, it needed to be perfectly straight and wind resistant, and most of all, stress free from potential earth movements. Zagreb lies on unstable ground that commonly experiences earthquakes, the base of the monument needed to be specially constructed with a chamber underneath the glass that will act as a shock absorber. Underneath the glass, there is a chamber with steel pillars that are placed strategically for shock absorption and can support the 45 ton weight of the glass. These pillars are adjustable so they gave us an ability to align the perfect straight line for the glass base. This glass was then placed in a stainless steel structure, an U – shaped profile with 10 mm thickness that has specific screws that can allow us to adjust the alignment and have lighting integrated under the glass. This stainless steel structure is crucial since it serves as a barrier for the glass to protect from frost and water. The steel can shrink and cause problems, and that is why the steel was seven mm wider and the glass was separated with two-component Soudal All Fix Sealant that is much stronger as the Crystal All Fix.

Once the base was created, we started to build the structure, one line on top of each other with crucial elements like corners that were built with two blocks that were cut under 45 degrees, polished and glued in the workshop and each five meters on the structure, another block was placed that connects two lines of the walls. These two parts are basically the ones that are holding the line and providing stability. Additionally, once the bricks were built, we added small crystal plastic bumpers that allowed us to adjust the wall in lines. It was built during winter, so we had to build a heated tent that held the temperature at about 25 Celsius degrees and the humidity was not a bigger issue since it was built during November, December and January.

The biggest issue was the COVID-19 pandemic and constant delays, but we had to move constantly in order to get the wall up. After around 60 days, the wall reached three meters in height, and it was time to strengthen the wall with stainless steel cables placed in between the glass bricks that will hold the structure against the wind, which proved to be the biggest problem for this long wall. These cables need to be adjusted every couple of years, and they provide final stability to the structure and ensure it is safe.

For the final test of stability, there were several unfortunate events; two earthquakes, one that was 5.6 on the Richter Scale and later that year near Zagreb that was a 6.4. The wall stood without any damage because of the steel pillars that absorbed the shock and the silicone that allowed structure to move. In 2023, a hurricane with strong north wind hit, but the steel cables did its job and held the wall.

The wall now proudly stands at the entrance of Zagreb city, providing a very special place for everyone to pay their respects to the fallen ones, a place to hold its breath for the country and liberty that it gave us. More than everything, it gives a clear view of the future that can show the new generation a bright way forward.

LECTURE

In between

By Silvia Levenson

Art must make itself a magnifying glass laid on the everyday outside , what the naked eye tends to scroll over without stopping. Italo Calvino *

I feel in between different realities: between Latin America and Europe, between the contemporary art world and the glass world, between concepts and process, thinking and making.

Even more, I stand between a society that is struggling to change and my desires for justice.

Through my work, I try to express the urgent need to reconcile ethics and aesthetics. However, I am not the only one who feels pain in the face of injustice and violence. Maybe my ability to inhabit this world is based on the capacity of processing feelings of frustration, sadness, and anger through my sculptures and installations. In other words, through my work, I seek to communicate my consciousness.

I was surprised when someone would call me a "glass artist" because it seemed absurd to me to define someone only by

the material they use to do her artwork but I can understand that sometimes people need to apply labels.

Honestly now I don't care at all how I'm defined because that's not what bothers me. People can apply the labels they want: I can be a craftswoman or an artivist, an artist, or a maker. I really don't care because all my energy is put into making my sculptures and installations that refer to conflict zones. And for me conflict zones can be the home, a country, my body, or borders.

I remember when I first came into contact with the world of glass in 1994 during a residency at Bullseye. Since I did not live in Murano and did not blow glass, I was not part of the glass community in Italy. My first impression was that they seemed very strange to me because they were only talking about glass and I said to myself: I don't want to get so odd! But here I am happy and proud to be part of this beautiful community of such determined people who after thousands of years still try to tame glass.

Missing Identity, 2016. Glass Museum. Murano. Photo: Paolo Sacchi

I began exhibiting my work made in glass in 1994, and through all these years I have developed work very related to our society: the desaparecidos during the Argentinean dictatorship, childhood abuse, violence against women, and postcolonialist policies in the world.

I was born in Argentina in 1957 and emigrated to Italy under the military dictatorship. Those years between 1976 and 1983 during which 30,000 Argentines disappeared changed my life and the lives of most Argentines.

I was 23 years old when I arrived in Italy as an immigrant with two small children: 4-year-old Natalia and 11-month-old Emiliano and no money.

In the past, I felt uncomfortable talking about my autobiographical experience; whenever someone mentioned it, I would reply that as an artist, I was just exploring reality. Underlying that my work did not fall into the category of art therapy. It was only in 2000 in New York when I met Louise Bourgeois in one of her Sunday Salons at her Chelsea home that I was able to override the pain. This event changed me profoundly; I learned to talk about my work without erasing my personal experience.

Between 2014 and 2022, I developed a traveling exhibition called Missing Identity concerning the 500 children born during the mothers' captivity and given in illegal adoptions by the Argentine military. The exhibition started in a former concentration camp (ex Esma) in Argentina and went around the world from Buenos Aires to La Plata, Montevideo, Washington, D.C., Portland (OR), Barcelona, Paris, Riga, Santo Domingo, and Munich. The exhibition included 133 glass baby clothes representing children who are now adults and have recovered their identities, thanks to the work of the indefatigable Grandmothers of the Plaza de Mayo.

Missing Identity, 2014. Ex- Esma Buenos Aires. Photo: Florencia Downes

Digo Basta, 2019. Detail. Photo printed on glass. Photo Marco Del Comune

In these 30 years, I have created installations, sculptures and videos aimed at dissolving borders: physical and psychological borders and I have used glass to see what is happening around me. I love the ambiguity of glass. Like all materials used in art, glass is not neutral. We use it to protect ourselves in our homes through doors and windows. We use glass to preserve food and we trust it so much that we place it over our mouths to drink. But somewhere in our brains we know that it can break and hurt us.

For this reason, it is the perfect material for investigating human relationships. For me, it is like a magnifying lens that creates some distance from the conflict that allows me to observe and say out loud what is not normally said.

I know that we can hardly change the world with art, but we can certainly change the gaze of the beholder. Personally, as an artist, I cannot look the other way when I read that 50,000 women are killed worldwide each year as a result of femicide. So, I made several pieces, videos and actions about this topic.

For example, “Digo basta” ( I say Enough) is a form of indictment against gender-based violence during the COVID-19 pandemic. Based on several studies from different countries around the world, incidents of domestic violence increased in response to lockdown orders. During the pandemic, I encouraged women around the world to send me "selfies" on social media. Once I received the files, I turned them into negatives that I printed on glass using an ancient photographic technique.

Successively I wrote the word "enough" in many languages. Although I didn't get to know most of the women involved in the project, printing their images and having their faces appear on glass was a great experience. Nevertheless, with some of these women, I was able to exchange messages and thoughts: creating a meaningful connection. Finally I showed this installation in the Argentinian Embassy in Washington, D.C.

The transparency and fragility of glass combined with a photographic technique have allowed me to create works that not only capture images, but also capture deep stories and emotions. I'm always excited to share my vision with others.

I think that as an artist I am creating something like a bridge where the viewer can enter my world and together we can imagine one other world.

*"A Spectator's Autobiography,”Italo Calvino. 1980

Digo Basta, 2019. Process. Photo Marco Del Comune

12 lbs of love, 2020. Kilncasted glass. cm 18 x cm 18 x cm 23 each. Photo Marco Del Comune

Memory, 2010. Barbed wire, kincasted glass, metal. cm 100 x cm 100 x cm 30

Photo: Emilio Tremolada

Addressing the Past Through a Glass Lens

By Alison Lowry

Since my graduation in 2009, the dress has been a powerful symbol and metaphor in my work. My fascination with the dress as an art form began with the desire to explore themes of identity, memory, and history. The dress, as a symbol, carries layers of meaning—it is at once intimate and public, a marker of personal identity, and a reflection of societal norms. By recreating dresses in glass, I have been able to explore themes in a way that is both visually striking and conceptually rich.

In 2019, this approach culminated in the exhibition (A)Dressing our hidden truths at the National Museum of Ireland. This project was never intended as a form of art activism, but rather as a bridge through which survivors could tell their own truths to a wider audience. It was extremely important to research the subject matter thoroughly, and so, it is on the shoulders of the many academics that work within this field, and the survivors who told me their stories, that this work rests, and to whom I am greatly indebted.

The Institutions: Contextualizing the Subject Matter of

(A)Dressing our hidden truths

Ireland has had a long and complex history regarding the institutionalization of its people. In the 50 years after the partition

of Ireland in 1922, the Saorstát or ‘Free State’ incarcerated approximately one of every hundred of its citizens1 in institutions funded by the State, and run largely by religious orders. These industrial schools, mother and baby homes, Magdalene laundries, and psychiatric hospitals were interconnected and codependent on each other, described by James Smith as an ‘architecture of containment.’2

The Truth Will Out: Bon Secours Mother and Baby Home, Tuam, County Galway

In 2012, an amateur historian named Catherine Corless from Tuam, County Galway, wrote an essay called ‘The Home’ in The Historical Journal of Tuam. In it, she laid out years of research into the Bon Secours Mother and Baby Home—a secretive and closed institution housed in an old Victorian workhouse that operated between 1925 and 1961. In Ireland, mother and baby institutions were places where women and girls, pregnant outside of wedlock, could birth their babies and have them adopted in secret, as being an unmarried mother in Ireland was regarded as a mortal sin.

Catherine discovered the death certificates of 796 children and babies that had lived at the home, but could not locate the corresponding burial certificates. In her essay, she surmised that the missing children’s bodies could have been ‘buried’ in the warren of disconnected tunnels that would have originally led to the old workhouse’s septic tank. The allegation that the Bon Secours Sisters would have buried the remains of babies in this underground tank was initially ignored and then ridiculed in Ireland. In 2017, Dan Barry wrote about it in The New York Times, titled ‘Ireland wanted to forget. But the dead don’t always stay buried.’3 As the world was now watching, Ireland suddenly had to take Catherine’s claim seriously.

1 O’Donnell, Ian. & O’Sullivan, Eoin. Coercive Confinement in Post- Independence Ireland. Manchester University Press, 2007

2 Smith, James. Ireland’s Magdalen laundries and the Nation’s Architecture of Containment. Notre Dame Press, 2007

3 Barry, Dan. “Ireland wanted to Forget. But the dead don’t always stay buried”. New York Times, 28th October 2017 https://www.nytimes.com/interactive/2017/10/28/world/europe/tuam-ireland-babies-children.html

(A)Dress, 2017

In 2015, I was preparing for a solo show at the Millennium Court Arts Centre in Northern Ireland. I had called the show (A)Dress, and was using clothing as a construct to investigate things that we don’t like to discuss in polite society. Like the rest of Ireland, I was horrified on hearing Catherine’s claims. Speaking with Catherine Corless, she told me about growing up in Tuam as a child. She remembered the ‘home babies’ as they were known in her school. The children would arrive late and leave early—limiting their interaction with the others, they were poorly dressed, thin, and dirty. The other children were discouraged from speaking with them or making friends.

An installation work entitled, Home Babies, memorialized the children. Nine sand-cast pâte de verre christening robes hung like shadows in a dark room, invoking the place the children, still, to this day lie. Wall-mounted were nine glass baptismal records, based on an original furnished by Catherine herself, the glass ‘paper’ crumpled as if discarded, the details missing. A soundscape quietly intoned the names of the 796 missing— presumed dead—children.

A collaborative video work with performance artist Jayne Cherry, called 35 I Can’ts, drew on Jayne’s personal experience of being a victim of domestic violence in her previous marriage. In consultation with Women’s Aid, we flipped the fairy tale Cinderella on its head. In heavy, custom-made cast glass ‘slippers’, Jayne takes 35 steps—each uncertain step illustrating how hard it can be to leave an abusive partnership. Tentatively balancing with long glass rods in her hands and wearing a ‘fog’ for a headdress, Jayne dragged her glass slippers across the ground, thus demonstrating the statistic, ‘On average it takes a woman to be assaulted on average 35 times before she will phone the police.’4

Another collective work was A New Skin. Referencing the impact of childhood sexual abuse, this was a personal work for me, and one that I found incredibly hard to resolve. Working with the Irish leather worker Úna Burke, we created a female ‘suit of armour’, positioning a breakable glass casing within the medieval suits worn into battle. This transparent shell reminded

me of how exposed and fragile I felt walking into court to give evidence during my rape trial.

The exhibition was opened in August 2017 by Dr. Audrey Whitty, then Deputy Director and Head of Collections and Learning at the National Museum of Ireland. Subsequently, she began making enquiries about displaying the work at the National Museum, at Collins Barracks in Dublin. In October 2018, I heard that the museum had agreed to the exhibition and the opening was set for March 2019.

Producing (A)Dressing our hidden truths for the National Museum of Ireland, Dublin

It was decided viewers would encounter the exhibition via a chronological timeline. The Magdalene laundries were the first form of women-centered institutions in Ireland, followed by the industrial schools, then the mother and baby ‘homes’, then ‘contemporary’ issues faced by women. Addressing the incoherent nature of the multiple rooms, the whole space was painted a dark grey and the windows blacked out. Ensuring survivors' voices were central, recorded interviews interspersed the space and could be accessed via monophones. Interpretive panels would be mounted, communicating the museum's ‘voice of authority.’ The art objects needed to be explanatory, accessible, and direct. I did not want artistic ambiguity. My aim was to force the viewer to have an emotional encounter upon experiencing the exhibit.

Researching the Irish Magdalene Laundries

The Irish Magdalene Laundry system operated a harsh and brutal regime. Women and girls were regarded as ‘penitents’ and were incarcerated to ‘atone for their sins.’ Working in silence, unless praying; there was no pay; awful food and limited medical provision; long hours were worked, and inmates

4 Jaffe, Peter, Wolfe, David, Telford, Anne, and Austin, Gary. “The impact of police charges in incidents of wife abuse”. Journal of Family Violence, no. 1 (1986): 37-49

were never told when they might be allowed to leave. Records from the many Irish institutions are still privately held by the religious congregations. Access is only granted when the latest Commission of Enquiry forces them to hand them over—albeit temporarily.

It was important to make the link between the fiscal and the religious, as these were extremely profitable organizations. I represented the forced labour of the estimated 10,000 women and girls that worked in the Magdalene laundries (since Irish Independence) by producing 10,000 paper dolls, laser-cut from reproduced £5 notes. They spill, uncontained from Church offertory bags. The particular note used had the face of Catherine McAuley, founder of the Sisters of Mercy Convent in 1831, whose congregation ran several industrial schools and Magdalene laundries in Ireland.

Development and Installation of (A)Dressing our hidden truths

Considering the museum's duty of care towards their staff, a briefing day was held prior to the exhibition opening. A parental advisory notice was positioned at the entrance of the exhibition and signposting to counselling organizations was displayed at the end of the exhibition beside visitors' books where we encouraged comments and thoughts.

The day before the official launch, survivors and survivor groups were invited to come and see the work privately. The exhibition was opened by Minister Katherine Zappone on 26th March 2019. It was framed by the museum as ‘an artistic response to the legacy of Ireland’s Mother and Baby Homes and the Magdalene Laundries.’5

The exhibition featured in major Irish news outlets. Melissa Stern from Hyperallergic. com described the exhibition as being, ‘delicate yet hardedged, sensitive yet unflinching, deeply personal and yet universal, this show is most worthy of the stories it tells’.6 Initially, the exhibition was to run until summer 2019, but it has since been acquired for the national collection and can still be viewed today.

Conclusion

Art can fill the void created when we struggle to accept the actions of our own state, congregations, and, crucially, of ourselves as a society. However, any forms of memorialization can be problematic and controversial when the most basic principles of transitional justice are not followed by the state.

Artists have a duty of care to make sure that the ‘survivor voice’ is central to any work that they do. Exclusion of the survivors' voice, only to be filled by the artist’s, amounts to more suppression and marginalization of the victim/survivor.

As Nathalie Sebanne writes: ‘there has been a strong desire on the part of the Irish State, and perhaps also on the part of society in general, to move on. Thus, after decades of silencing and invisibilization, the nation has now seemingly ‘built a monument to Amnesia.’7

(A)Dressing our hidden truths is only one small part in a chain of artistic interventions that have attempted a form of memorialization. The ‘never again’ imperative as instigated by Holocaust remembrance and its attempt to prevent future horrific suffering means memorial museums, and museums that tackle contentious issues can act, as Paul Williams writes, ‘as surrogate homes for debates that would otherwise be placeless.’8 And while truth-telling commissions and academic reports allow historical re-examination, we still need physical sites that render the ‘othered’ narrative and can offer public space that allows us to feel the vulnerability and pain of our fellow human beings while fundamentally connecting with our own, and where the art object becomes the conduit through which transformation can take place.

5 Alison Lowry: (A)Dressing our hidden truths, exhibition brochure, ed. Audrey Whitty. National Museum of Ireland, 2019

6 Stern, Melissa. “A Memorial to Crimes Against Women and Children in Ghostly Glass”. Hyperallergic.com. 22nd August 2019. Accessed 16th November 2022 https://hyperallergic.com/511345/a-dressing-our-hidden-truths-alison-lowry/

7 Sebbane, Nathalie. Memorialising the Magdalene Laundries: From Story to History. Peter Lang Group AG. New York, 2021

8 Williams, Paul, “Memorial Museums and the Objectification of Suffering”, in Marstine, Janet. The Routledge Companion to Museum Ethics. Routledge. USA and Canada. 2011

Patternwork of the American Glass Pipe Movement

By Christopher McElroy

Extraordinary pattern making is happening within the American Glass Pipe Movement (AGPM)!

My Glass Story

I purchased my first glass pipe at age 17 in a parking lot at a Phish show in Raleigh, NC, summer of ’97, and truly became enamored with that pipe and glassmaking in general.

Today I am a glass pipe artist operating under the pseudonym 2-Stroke, making polychromatic, ornately-patterned pipes designed for daily use cannabis and cannabis concentrate smoking and vaporizing. I have been making glass pipes full time since 2013 and flameworking borosilicate glass since 2000. I hold a BFA in Crafts from Virginia Commonwealth University ’02 and an MFA in Spatial Relationships from the University of Washington ’11. I taught flameworking workshops domestically and internationally until 2014.

American Glass Pipe Movement

Origins

The AGPM has technical roots in beadmaking, scientific fabrication, traditional German and Venetian flameworking and furnace work techniques with a heroic dose of homegrown ingenuity and DIY ethos. The movement has its aesthetic roots spreading through Folk, Fantasy, Arts & Crafts, Psychedelic and Visionary Art realms.

The genesis of the movement is attributed to Bob Snodgrass, who sometime in the late 1980’s began making silverand gold-fumed borosilicate glass cannabis pipes to sell in the parking lot

at Grateful Dead shows. Bob Snodgrass lived nomadically following the Dead and making pipes until Jerry Garcia died in 1995 at which point he settled in Eugene and began teaching apprentices his pipemaking style.

Education

Many flameworkers got their start with glass pipes by learning directly from Bob Snodgrass, including Hugh Salkind, Bob Badtram, Cam Tower, BT Glass, David Willis, and Stan Alba, to name a few. Many more still saw

Bob's pipes in the Dead lot and made up their minds to figure it out on their own. The vast majority of American pipemakers began their journey in glass by learning from other pipemakers. Their glass education took place primarily through loosely-structured apprenticeship agreements. Typically a pipemaker would first teach an apprentice how to do rudimentary prep work and patterning. This apprenticeship model still serves to educate some of today’s new pipemakers; however in our current internet era of pipemaking, education can and often does take

Dosa x Renz collab Tube. 2023 photo by the artist. Approximate dimensions 18" tall 6" wide x 6" deep.

place in complete isolation from other glassblowers due to the many comprehensive YouTube and Twitch pipemaking tutorials found online. (because internet)

The American Glass Pipe Movement’s growth and rapid innovation is a result of thousands of artists finding a very accessible molten glass process to make a product that sells remarkably well. A basic flameworking studio for creating pipes can be put together for under $1000 USD and set up in under a week. I have seen or worked in

flameworking studios in kitchens, living rooms, garages, sheds, barns, lofts, warehouses, basements, busses, vans, and trailers.

While many pipemakers work alone, it is evident that groups of pipemakers working together in collective studios stay ahead of the curve of changing market trends and demands. Collective studios have a greater magnetic force for attracting the attention and financial support of collectors as well.

Perhaps the single largest component

of education that lies at the heart of the American Glass Pipe Movement is collaboration.

Most pipemakers have openly collaborated with one another to make special pipes that are unique mergers of style since the beginning. During collaborative pipemaking sessions, pipers often share their own hard-earned technical expertise with one another in a way that brings us all to a higher level. This is such a special thing, I cannot possibly overemphasize that we have all learned so much faster and grown exponentially as a result. Collaboration is at the center of the Glass Pipe movement and it is truly born from an abundance mindset.

Colored Borosilicate Glass

Borosilicate glass was first developed by German glassmaker Otto Schott in the late 19th century in Jena, Germany. It was designed for use in industry with its excellent resistance to thermal shock and chemical corrosion.

Because borosilicate glass was designed for industrial purposes and required more heat to melt, it was not widely adopted for use by glass artists until the Glass Pipe Movement pulled up on the scene. Artistic flame workers using borosilicate glass in the 1970s and 1980s had very few options when it came to colored glass.

I have heard from some of my teachers/elders that the first commerciallyavailable borosilicate colors were in the form of sintered glass bars that were manufactured as mounts for television tubes. Other than those sintered bars the only color option was to hand mix metal oxides with clear glass in the flame. The demand for glass pipes in the 1990s carried the medium on a steady wave of money that birthed the first borosilicate glass color company Northstar Glass, founded by Paul Trautman. This same financial tide continues to this day and has brought with it a multitude

2-Stroke Diffraction stirrup, 2023, photo by 2-Stroke, Borosilicate glass. 7.5" tall x 5.5" wide x 4" deep.

of tool and technique innovations and another eight to ten borosilicate color companies as well. In 2000 there were approximately 30-40 borosilicate colors commercially available and today (2024) there are well over 400 colors available in the form of rods, tubing, powders, and frit.

Patterning

In the past ten years of the American Glass Pipe Movement, we have seen a whirlwind of creativity and innovation that is inextricably linked to the growth and innovation that has taken place in the cannabis markets, both statesanctioned, and legacy markets.

Exquisite murrine tilework, intricate hot- and cold-formed cane work, exacting overlays and Graal, and hand-drawn stringer flips of the highest caliber decorate the most elaborate smoking devices the world has ever seen.

“I predict that some of the most respected glass artists of the new century will come from among the dreadlocked kids seen selling their wares at Phish concerts, if they can keep themselves out of serious trouble”Bandhu Dunham, author of Contemporary Flameworking copyright 2002

The American Glass Pipe Movement is in the midst of a beautiful moment.

Please investigate deeper with this Starter pack list of Glass Pipe Artists to check out on Instagram.

WJC @wjcglass

Contrabasso @contrabasso

Gabe Renz @renz_craft

Dosa @dosaglass

Boro Benjamin @borobenjamin

Scotty Mickle @scottymickle

Andrew Certo @certo.glass

AKM @pipemaker

Zach Hollinger @hollinger_glass

Credo @credoglass

Haaps @haapsglass

2-Stroke @2_stroke_glass

Bird Dogg @birddoggart

Chris Carlson @carlsonjones

Sarita @saritaglass

AAA @trip_a

Yook @yook_glass

MarbleSlinger @marble.slinger

Kurt B @kurtbinstagramming

Mitch Peterson @map_glass

Cody Olsen @cody_olsen_glass

ESP @espglass

EASE @easeglass

Jason Lee @jasonleeglass

Steve Sizelove @steve_sizelove

Carwash @carwashglass

Sleek @sleek__

Kevin Nail @stresslessglass

Cowboy @cowboyglasss

Jared Wetmore @jaredsglass

Sips @elimunster

Cameron Burns @cameronburnsglass

Eusheen @eusheen

Jake C @jake_c_glass

Quave @quaveglass

T-Funk @tfunkglass

Robertson @robertson.glass

Haaps, Quasi, 2023, Photo by Jamie Zill. Approximate dimensions 7.5" tall x 4.5" wide x 4" deep.

Translucent Narratives - A Journey Through Romanian Glass |

By Alexandra Mureșan

When trying to grasp the entirety of a material like glass— which has been around for so long—one finds oneself in front of an immeasurable ocean of artistic expressions that stretch as far as the eye can see and far beyond. The beauty of an event like the GAS Conference is that it offers the curious mind and all glass lovers the chance to embark on a cruise through that ocean of expression and take us beyond the horizon line of one’s own context.

This article invites the reader on a journey within a journey, offering a glimpse into the landscape of Romanian glass art. If you find yourself wondering what lies beyond the phrase "Romanian glass art" and your curiosity is piqued, buckle up, as we board a time machine.

To help us navigate the vast terrain of time, we will use three landmarks—three works of glass art—as points of reference. These artworks symbolize each generation of Romanian glass artists who have shaped the evolution of this art form in Romania. By examining their unique approaches, we will gain insights into the historical, cultural, and social contexts that influenced the formation and expression of each generation.

Let us begin! The first artistic landmark we will explore is a work titled "The Sanitary Wagon" created by the artist Adriana Popescu (1954 – 2007) in 1989.

Material-wise, this work is an assemblage of mixed media measuring H 60 cm x W 60 cm x D 40 cm (H 23.62" x W 23.62" x D 15.75"). The main body of the piece is made of opaque milk glass and was created during one of the many symposiums held in Romanian glass factories before 1989. The other elements that comprise the work are test tubes and labware filled with various materials (paper, beads, metal, rubber, textiles, etc.). The wheels are made of porcelain.

This rich gathering of materials is coherently placed together to tell a multilayered story. Inspired by the old itinerant pharmacists who traveled from village to village selling medicine and herbal cures, this piece speaks, in a metaphorical language, about the curative power of art and the laboratory of the creative endeavor. The concept of this piece cuts deep, as it was made during the very troubled times of the communist regime, which suppressed freedom of speech and spread fear and terror among those who disagreed with the system. Art, literature, music, and reality itself were censored, and only tailored versions of artistic representation were publicly accepted. These constraints determined artists of that generation to constantly search for forms of expression that would elude censorship and hint at the real reality of what was happening. From this perspective, Adriana Popescu’s piece can be seen as a metaphorical cry for help. Ironically, the work was on display in an exhibition during the very occurrence of the revolution in Romania in December 1989.

Adriana Popescu, The sanitary wagon. Photo credit: Tudor Păsat.

Adriana Popescu sketch of the sanitary wagon.

Adriana Popescu’s approach is representative of a generation of Romanian glass artists who developed under the communist regime and formed their artistic identities at the Institute of Fine Arts Ion Andreescu in Cluj-Napoca (now the University of Art and Design) between 1968 and 1983. This institution was one of only two places where glass could be explored in a university setting, offering a perspective distinct from that of industry and artisans. The opportunity to study glass at the university level was introduced in 1965 at the Bucharest Institute of Art and in 1968 at the Ion Andreescu Institute of Fine Arts in Cluj-Napoca, thanks to artist and professor Zoe Băicoianu (1910-1987), who recognized the vast potential of glass as a medium of expression. This new line of study produced many generations of artists who adopted glass as a main language of expression, including Dan Popovici, Valer Semenescu, Cristina Iliescu, Mihai Țopescu, Ioan Nemțoi, Cătălin Hrimiuc, and Vioara Dinu, among others.

The specific shift in the approach to glass that characterized Adriana Popescu’s generation was influenced by the two mentors she had at the Cluj-Napoca Fine Art Institute: Ana Lupaș and Mircea Spătaru. They emphasized that a coherent concept is vital in art, making the material transcend its decorative conditioning. While technique was important, it should not constrain the concept; instead, expression and

meaning should transcend the puritanism of technical craft. This philosophy continued to resonate across generations.

And here we are at our second landmark: the glass work titled "(Under)Construction," created in 2018 by myself, Alexandra Mureșan. I trained as a glass artist at the same University of Art and Design in Cluj-Napoca, generations apart from Popescu, under the mentorship of Valer Semenescu, a student of Ana Lupaș. Time wise, in the same generation, more or less, from UNARTE Bucharest emerged glass artists like Ioana Stelea, Cristina Ilinca, and Săndel Ene. At this time, the social setting is that of a democratic society, where speech is not censored by the state. In this context, the present glass landmark speaks about the transitory stages of evolution, alluding to the fact that we, as individuals and as a society, are constantly changing, transforming. We are perpetually under construction. The concept of "under construction" has deep roots in the history of thought, going back to the pre-Socratic philosophy and the philosopher Heraclitus, who instilled the phrase: "Panta rhei"—everything flows, everything is under constant change.

Inspired by the creative process itself, the choice of materials and techniques can also be seen as a reflection of the evolution of glass art after the 2000s, as newer techniques were incorporated into the artists' repertoire. Techniques such as water jet cutting and kiln slumping and casting moved to center stage as many of the glass factories of Romania were closing and glassblowing became less accessible to younger generations of artists.

This piece also reflects a shift in the aesthetic paradigm that was emerging more and more not just in Romania but inter-

"(Under)Construction," work in progress by Alexandra Mureșan. Photo credit Alexandra Mureșan

"(Under)Construction," 2018 by Alexandra Mureșan. Photo credit: Andra Roman

nationally. The paradigm of expression that emphasized the aesthetic and conceptual qualities of flaws and so-called errors. As in the case of glitch art, glass artists were becoming more and more fascinated by the seductive power of transgressing glass industry conventions. Industrially, a flaw like a chip or a fissure in the glass rendered the object useless—a throwaway; artists were now searching for ways to tame the flaw, to instigate it, and make it part of the expressive dialogue in a mixture of control and free flow.

Our next and final landmark on this journey is a glass installation from 2023 titled "Greeting from Earth." This installation features two setups where glass objects, created using casting and blowing techniques, are juxtaposed with architectural elements made from sweet cake or plastic. The artist, Bonnie Rotar, developed this installation as part of her diploma research, in which she explored the paradox of contemporary society and aesthetics where multilayered forms of expression dubiously overlap and somehow coexist. Educated at the same institution as the previously mentioned artists, Bonnie Rotar’s approach stands out for its bold and provocative material associations, which challenge the refined conventions of fine art and decorative art. Part of the same emerging generation of artists are also recent graduates from UAD Cluj—artists like Ana Maria Mandi, Elena Arcire, and Bianca Peter, or from UNARTE Bucharest—artists like Mădălina Ion Dina, Anca Niculina Mihăilă, and Ramona Prodan.

And here we are at the end of this journey. I hope this short survey shed a bit of light on how glass formed an identity as an art form in that corner of the world that bears the name Romania. The scope was never to exhaust the subject but merely to give you a taste and to make you even more curious and, why not, even more in awe of how glass accompanied generations of artists on their own journey of discovery.

Top: Bonnie Rotar, "Greetings from Earth." Photo credit Alexandra Mureșan." Bottom: Greetings from Earth," digital sketch by Bonnie Rotar.

glass – hand formed matter

International Development, Exchange, Cooperation and Exhibition Project on the Future Potential of Manual Glassmaking in Europe

By Barbara Schmidt

The raw materials for glass production, primarily silica, make up a large part of the earth's crust. They were abundant in the barren glacial landscapes of Brandenburg, Saxony-Anhalt, and the Thuringian Forest, but also in Småland and southern Finland. In the 18th and 19th centuries, numerous glassworks were established in these regions that sourced their raw materials from their immediate surroundings. However, glass craft has a hard time in Europe today: The few glassworks still active today mainly cater to tourists and practice the traditional techniques of manual glass processing – which was declared a UNESCO intangible cultural heritage site at the end of 2023, shortly after the three-year glass – hand formed matter project came to an end (a success of an initiative in which some of the partners of this project were also involved).

Against this backdrop, the partners of the glass – hand formed matter project from Berlin, Brandenburg, Saxony-Anhalt, Thuringia, Finland, and Sweden joined forces to explore the future potential of manual glass production in Germany and Europe aiming to go beyond the preservation of traditional craft techniques. What new prospects does glass as ›handformed matter‹ open up for rural areas – at the intersection of digitisation, sustainability, cultural assets and everyday culture/object culture, as well as design and craft?

The international project glass – hand formed matter, supported by universities, glassworks and cultural institutions, which ran between August 2020 and July 2023, aimed to explore new perspectives for manual glass production in Germany and Europe. Glassmakers, artists, designers and students from Berlin, Brandenburg, Saxony-Anhalt and Thuringia, as well as from Finland and Sweden, were connected to reinterpret and further develop the millennia-old craft of glassmaking. In numerous workshops and artist residencies at the participating glassworks, they explored innovative aesthetic, functional, and sustainable approaches to working with the material, using analogue and digital tools as well as addressing current topics.

A curatorial board made up of representatives from all three participating countries defined the themes for the project and exhibition (such as ›mutating moulds‹, ›flow‹, ›colour‹, ›light‹ and ›ecology‹) and agreed on six project fellows who were linked to various glass production sites and entered into an exchange with the students who took part in the project and

allowed them to participate in their artistic practice. Unlike in the USA and Scandinavia, for example, there are almost no hot glass studios in the artistic and design university context in Germany. Industrial and artisanal glassworks, on the other hand, still exist in many places. Dealing with the process of glass production is also an important source of experience for design students. Designers must learn to work with the glassmaker as an interpreter or translator of their idea of a form or process on an equal footing, to develop empathetic communication and a common language. A glass object is never created in a single work step, but in successive

glass – hand formed matter, exhibiton at Bröhan Museum Berlin 2022. Photo by Juan Camilo Roa.

operations, layer by layer and step by step, always starting from the shape of a bubble or sphere – understanding this is necessary in order to realise the potential of the technique.

Students from the Weißensee School of Art and Design, Berlin spent time in glassworks in Lauscha (Thuringia), Baruth (Brandenburg), Derenburg (Saxony-Anhalt) and Boda (Sweden). A student group from the Aalto University in Finland cooperated with the training centre for glassmakers Tavastia Vocational College in Nuutajärvi (Finland) and were invited to the Glass Factory in Boda (Sweden) as part of the project. In addition, the artists supported by the project were given the opportunity to cooperate with glassmakers in the participating glassworks to realise their projects.

Most of the works showcased in the exhibition were made in four glassworks. The oldest of them was established in 1716 near Baruth, Germany, as a forest glassworks. The Baruther Glashütte went through a multi-phase transformation to a modern glass production facility with housing for the workers from the 18th to the 20th century and finally had a new start as a museum village after production had ended in 1980. The Harzkristall Glassworks was founded in Derenburg, Germany in 1946 by displaced Sudeten German glass cutters. In 1966, it became an external workshop of the Burg Giebichenstein University of Art and Design in Halle (students from this school were also invited to submit their works for the project exhibition).

The migration history of the Sudeten German glass workers and the influence of their craftsmanship on the German and Swedish glass industry was also the subject of an artistic research project by project fellow Ingela Johansson. Anu Pentinnen, and Helmi Remes from Finland worked together with glassmaker Thorsten Rötzsch at the Harzkristall Glassworks in Derenburg, Saxony-Anhalt on their project "The Wonder Project – Anatomy of a Knot". An important centre for the relaunch of the Scandinavian glass scene is the Glass

Factory in Boda in southern Sweden, which was transformed in the early 2000s from a glass factory into a studio glassworks with a gallery and a museum. The Glass Factory in Boda is where project fellows Ingela Johansson and Tue Greenfort realised their works. Greenfort used hand-formed glass to raise a new awareness for our fellow living creatures who are at home in aquatic environments. His medusa glass objects, which evoke associations with the famous scientific glass models made by Leopold and Rudolf Blaschka, act as intermediaries between art, science and perception of nature.

Another place of traditional glass production is Lauscha, Germany, where a unique tradition of Christmas tree ornament production provided the inspiration for the contribution of the all-female artist collective BOOM! which, like Ingela Johansson, comes from Sweden: Artisans in small family workshops scattered throughout the town in the Thuringian Forest produce a wide variety of items from glass semis, the colours of which have been made for centuries in the local Farbglashütte, a glassworks producing coloured glass. BOOM! translated their experiences into their "Wheel of Future".

Contaminated soils and the alteration of landscapes by humans in the aftermath of the glass industry are the subject of the project Un/Making Soil Communities, launched by Kristina Lindström and Åsa Stahl. Together with the Finnish artist Riikka Latva-Somppi, who is part of the Soil Laboratory of the Aalto University’s Empirica Research Lab, they developed an artistic research project that speculatively applies the method of phytoremediation and imagines a more responsible use of natural resources in glass craft and glass design in the future.

By adding a glassmaking module to her long term project "Encyclopedia of Manual Operations" and visualizing the sequences of movements in the creation of a glass object via a two channel video installation, project fellow Anette Rose

glass – hand formed matter, exhibition »water and wine« at Art Foundation Saxony-Anhalt 2023. Photo by Matthias Ritzmann.

glass – hand formed matter, exhibition at The Finnish Glass Museum Riihimäki 2023. Photo by Barbara Schmidt.

Top: glass – hand formed matter, exhibition »water and wine« at Art Foundation Saxony-Anhalt 2023, Video Installation »Glowing Matter« by Anette Rose showing glassmaker Peter Kuchinke, 2022, photo Moritz Müller. Bottom: glass – hand formed matter, Final Symposium at Museum Baruther Glashütte, Juy 2023. Torsten Rötzsch and Mariko Seki blowing a set of the work »glass blower’s setting – the starters« by Kirsti Taiviola (the artist on the photo in the back with pink t-shirt and eye patch), photo Barbara Schmidt.

(DE) paid tribute to the skills of glassmakers, the embodied knowledge of the glass making process.

Ella Einhell's "Pass the Bone" was presented in the talk as just one example of student research projects: While resources are becoming increasingly scarce, numerous industries continue to dispose of valuable minerals unused. The meat industry, for example, produces masses of animal by-products, e. g. bones. In her "Pass the Bone" project, Ella Einhell developed glass based on bone waste and grinding sludge from local production chains. The bones used come from diverse animal species from different husbandries. The aim of the project is to use existing waste instead of wasting more resources.

The glassmaker Peter Kuchinke played a decisive role in this and many other projects. As Artistic Director of the Glass Factory in Boda, Sweden, and an expert on the European and international glass scene, he was a co-initiator and valuable network builder for the glass – hand formed matter project.

The project’s artistic exploration of new possibilities and the resulting objects were brought together in the exhibition "glass – hand formed matter" that travelled from the Bröhan Museum in Berlin, Germany, to the Finnish Glass Museum in Riihimäki, Finland and The Glass Factory in Boda, Sweden. In addition, the Cultural Foundation of the Free State of Thuringia, the Art Foundation of Saxony-Anhalt and the Museum Baruther Glashütte, in cooperation with local vintners, waterworks and nutrition experts, presented the special exhibition "water and wine" in Gotha, Halle and Baruth in Germany on glass in the context of drinking culture and sustainability. Next to fascinating new objects, most of which were being presented for the first time, the exhibitions showed films that made manufacturing processes visible as well as tools, semi-finished products and other materials that made them tangible. The show also included works by the six project fellows who have approached various aspects of the material glass and its production through artistic research. Beyond the physical exhibits, the exhibitions aimed to make the tacit knowledge of glass craftsmanship tangible to the audience and focused on the cooperation between glassmakers, designers and artists.

More than 40,000 visitors saw the two parts of the exhibition at a total of six venues. The project partners were able to network with each other better and sustainably as a result of the project and all reported an increased interest in manual glass making on the part of students and trainees, designers, artists and the public during and after the project period. With our project, we hope to have created space for further exploration of the future potential of this great craft.

Source:

Barbara Schmidt, "glass – hand formed matter" in glass – hand formed matter, ed. Barbara Schmidt (Berlin: weißensee school of art and design berlin, 2022), 007-015

glass – hand formed matter, catalogue, 2022. Photo Department of Visual Communications of weißensee school of art and design berlin.

LECMOS

Brian Gillespie brought 3-D modeling and hot glass together in his unique lecmo.

Design or Art? Creating 3-D sculptures in Glass Fusing

By Marta Gibiete

I am honoured to share with you my story and explain how I make my 3-D glass sculptures using fusing techniques. I divide the shape I am creating into small parts, cutting them out of sheet glass and then fusing the parts. Using a pre-prepared cut-out pattern, I cut out two identical pieces of glass and place a copper wire between them, which after fusing, will be securely embedded there. When all the parts are ready, I connect the pieces with the copper wire and create the desired shape. Larger objects require a skeleton of hard metal to provide structure. I discovered this way to work with glass when I sought the methods to create a sculptural form of glass that would provide an alternative to glassblowing.

I come from Latvia, a small country in northeastern Europe on the Baltic Sea coast. We are nations that are often mistaken for each other, and we frequently collaborate and are quite similar in terms of nature and weather. We have all four seasons in full gradation. Observing and experiencing nature is a fundamental source of my inspiration. My childhood summers were spent in the countryside, and I am grateful to my parents and grandparents who taught me to be attentive and perceive things, colours, and moods surrounding me.

I became acquainted with glass in the early 1990s, having just graduated from vocational art secondary school, where I learned the trade of leatherworking. I enjoyed it – binding books, constructing bags and hats, and making unusual boxes. However, there was no opportunity to continue the studies in this field at the Art Academy. Studies in Tallinn, Estonia, specialising in leather product design were no longer possible, because the student exchange programme between art universities in the former USSR had been discontinued. More than 10 years were still to pass until Erasmus exchange studies began at our academy. So, I decided to try my luck at the Department of Glass Art at the Art Academy of Latvia in Riga, and was admitted. I didn’t know the first thing about glass; I had no preconceptions, no expectations. Embarking upon my first pieces, exercises with material, I thought –others can do it and it turns out well, why shouldn’t I? After a while I realized – it was my material! The glass pulled me in.

I was born in Latvia when we were still part of the USSR, occupied and stuck behind the Iron Curtain. That’s how my childhood passed, I know what the Soviet times tasted like. The crumbling of the monstrous political formation coincided with my adolescence. It was an anxious and beautiful time: full of anticipation, great faith of the Latvian people, and an

enormous desire to break free from the 50 years of forced marriage with the big neighbour. A time filled with idealism, elation, and naivety.

Latvia regained independence, began to grow and develop, making a multitude of mistakes on the way, – the “harsh nineties” were the time of my studies. My real life began here, as I stepped upon the path to acquiring the identity of a glass artist – against the background of turbulent changes, holding on to hope and having faith in the future. All of this has combined to form my generation: typical Eastern Europeans who grew up in a time when no one could be trusted, gained their identity in the era of high aspirations, and today hope to achieve balance.

When I began to study at the Art Academy of Latvia, the opportunities to work with glass were scarce. Initially, we

Change caption to: Installing my work in the 2024 GAS Member Exhibition in Berlin. Photo credit: Bärbala Gulbe.

studied stained glass, composition, classical drawing and painting, and only touched upon glass in the forms of decorative glass crafts – engraving, etching, and frosting. In the subsequent years, there was hope to practice in blown glass factories in Riga and Līvāni in Latvia and Lviv in Ukraine. Gradually, these opportunities dwindled, as local industries were pummelled by economic side effects of the fall of the USSR. However, one could try their luck in the West. During my studies, I mastered and fell in love with stained glass and discovered the world of glass colours. I deeply love colours, you can see it in my works. In my last year of school, glass fusing kilns came to the academy, and both teachers and students learned to work with this new-to-us technology.

Quite soon I realized that blown glass was not for me, despite the opportunity to intern in a real glassblowing hot shop with Mark Ekstrand in Seattle for three months, as well as attending several symposiums. Hot glass is captivating, I respect and admire the masters, yet for me it is too fast, extroverted, impulsive, and not accessible enough. However, my desire to create a 3-D shape continued to spur me on. I had learned the fusing technique, and I understood what glass does in the kiln. Thus, the idea arose that I should try to create a sculptural form by means of glass fusing methods. The knowledge attained in

leather crafts, construction skills, and stained glass craft skills here combined with fusing, and I sought the ways to assemble the constructed form from separate pieces of glass, creating 3-D works. The trickiest part was figuring out how to connect the individual pieces together. The solution came in the form of copper wire. Series of experiments followed, until I found a way to link the glass pieces so that they remain tied together.

The first creation was made using the pattern of a hat, from old greenhouse glass and a copper wire of a broken-down engine. It had a brief lifespan, the wire was too fine, too weak to hold the heavy glass together. Nevertheless, that first piece did its work before it perished, – my teacher Dainis Gudovskis noticed it and told me to create the next work, and submit it to the competition Young Glass 1997 at the Museum of Glass Art in Ebeltoft, Denmark. I did, and won the Ebeltoft Prize, an impressive bonus, and I went abroad westward for the first time. My journey as a glass artist had officially begun.

Many do not understand how I create my works or how they are made technically. For some, they seem like a miracle, while others believe my work is blown glass. However, it is not how I create my works – instead, I construct them.

I’m a bit sorry if those who primarily see the invested amount

My Berlin 2024 lecmo with samples. Photo credit: Ieva Birģele.

of work as the main thing in my technique. My technique is not an end in itself. I also create other types of works, however, I remain true to my bubaku technique.

I am one of those artists who are passionate about process and research. I am euphoric about the creation process from the very first sketch through the glass processing to the final assembly of a work. While creating new works, I always find prolific new ideas on how to supplement the existing, how to try to do something differently, and to further develop an image or a technical solution. I enjoy researching through process. Thus, the collections of my glass objects are formed, each with a different visual and conceptual task – the range of colours, shapes, glass type, and technique. My works are about cyclicality, rhythms of nature and our lives, hopes, hopelessness, the road, expectations, loneliness, and a bit about sadness.

I work with glass daily in my studio – mostly individual commissions and various commercial projects – stained glass, mosaics, light objects for interiors, awards and corporate gifts. These are quite creative projects involving a task to be solved, a challenge, collaboration with the client and striving for aesthetically pleasing, high-quality results. I am grateful for my routine, yet at times I lack a free creative expression and complete independence. I find and savour it when I elaborate my artwork, glass objects for exhibitions. In recent years, I have taken part in organizing exhibitions for the local glass art community, and this process continues. In 2022, together with our Baltic colleagues, we took over the European glass festival in Wroclaw, Poland, involving 36 artists from Latvia, Lithuania, Estonia, and organized a total of 11 different exhibitions. The events of the project include short video interview series with all the artists, – see them here to get to know the Baltic artists: youtube.com/@balticglassart9529/playlists

Currently, there are several creative projects in my bubaku technique, and I expect several visitors from near and far for the creative master classes in my workshop. Yet the greatest and most demanding future project is a conceptual exhibition of Baltic glass artists in Riga, Latvia in the early spring of 2025, – I am involved in its organization. Please, follow my Instagram and Facebook accounts, as well as view my work at martagibiete.com.

Once again, thank you very much for the opportunity, interest, and support!

Winter Seed, 2020, 34x34x56cm, author technique, materials - painted, fused, bent glass, copper wire. Photo credit: Inese Kalnina.

Uncountable, 2022, 54x54x18cm, author technique, materials – fused glass, copper wire. Photo credit: Inese Kalnina.

Inexpensive, Reusable Blow Molds for the Hot Shop

By Brian Gillespie

Making blow molds can be expensive–even for small objects like the drinking glass that I'll design and create in this article. Most of the glassblowers I know use graphite, cast iron, bronze, or wooden molds. And they all work great. But how do I know I want to spend thousands of dollars on a mold? What if it doesn't look like I imagined? What if I want to change something? No problem - just drop another month's pay on another mold!

But seriously, is there a way to prototype the mold, try it out, and iterate without spending a ton of money? It turns out there is, using a combination of computer modeling tools, 3-D printing, and castable mold materials normally used in the warm shop. At first, I thought this process would only be useful for testing, but found that I was able to produce 30-40 glasses from a single mold. We ended up producing over 200 glasses using this technique! This process was originally developed by the F5 collective (Myself, Nathan Sambar, Lynn Read, Brandyn Callahan, and Phirak Suon) between 2021 and 2023.

Before getting into the details, I want to talk a bit about cost. A custom three-part graphite or wood blow mold for something the size of a cup would likely cost $2000, perhaps much more if your mold included a lot of detailed texture, resulting in a more lengthy milling process. By comparison, the molds made below cost less than $50 in materials. Bambu Lab1 makes fantastic 3-D printers that cost between $300 and $1000, and a copy of Rhino2 to design the molds is under $1000. This means that for the same price as one graphite mold, you can be set up to produce as many as you like!

My background is software. I've spent the last 25 years working on the Rhino development team at Robert McNeel & Associates in Seattle. Our goal has been to bring inexpensive, accurate, free-form 3-D modeling software to designers, artists, and architects. This article uses Rhino because it's what I know. I am aware that there are alternatives to Rhino for every step of this process–I encourage you to experiment with whatever tools make sense to you!

My process begins with sketching. When I find a compelling sketch, I import it into Rhino as a background image to

1 "Bamboo Lab." Accessed July 1, 2024. https://bambulab.com/.

2 “Rhinoceros.” Accessed July 1, 2024. https://www.rhino3d.com/.

begin modeling. Sometimes I model the piece directly, and sometimes I write small programs to generate patterns. It's also possible to scan existing objects and import them as pattern and texture in Rhino. Modeling in the computer is a skill, and like any skill, it takes practice and time, and is therefore beyond the scope of this article, but there are tons of fantastic tutorials online that can teach you how to do just about anything!

Once the model of the glass is complete, I analyze it to see if it can be made. Rhino's draft angle analysis helps me understand where undercuts would form in the mold. By evaluating undercuts early in the process, I can determine whether I'll design a more complex four-, five-, or six-part mold, or if I'll

change my design to simplify the mold. In the model designed for the 2024 GAS conference, I use three mold sections for the body, and a fourth for the foot. Designing in more than five degrees of draft is helpful to ensure the glass comes out of the mold cleanly and doesn't damage the mold.

After analysis comes the engineering of the mold itself. I start with parting lines, preferring to hide them within the pattern of the design, rather than using a more typical straight parting line. When the molds themselves are designed, I move to the design of the 3-D printed mother molds. I design the mother molds such that they're easy to assemble and disassemble, don't deform under the pressure of the castable materials, and don't fall apart under vibration to get bubbles out of the castable material. Once the mother mold is designed, it's time to 3-D print the mother mold. I've had excellent results with resin-printed molds–there's no visible surface texture on the mother mold to transfer into the final piece. While resin printers are inexpensive and readily available, they are messy, smelly, and require more work than I'm willing to put up with. Instead, I print my mother molds using PLA using a readily available 3-D printer. My current favorite is from Bambu Lab, but technology being what it is, that may change by the time you're reading this. My favorite way to remove 3-D printer layer lines is to paint the surface with an automotive filler primer and hand sand with 400 grit wet-or-dry sandpaper. Taking the mold surface to a full gloss is time consuming, but results in very smooth molds and therefore very smooth glass. The amount of time I spend on this is relative to how much I care about the details of the final glass object. If I'm on my first prototype, I rarely bother to smooth the mother mold.

When the printing is done, it's time to cast. I use Castalot3, a material developed by Michael Dupille in Seattle, to make reusable open-faced kiln-casting molds. It is a durable material that withstands the repeated thermal shocks of mold blowing well. Like all castable materials, it is relatively brittle, and will break from impact (including impact with other parts of the mold), Castalot is a forgiving material that is mixed by volume rather than weight, and can be mixed anywhere from 2:1 ratio of powder to water to a 1:2 ratio! Somehow, the material doesn't shrink even when mixed very wet - though it is a bit less durable. I mix the Castalot to a thin milkshake consistency with a small mixer on a drill. I strive to incorporate as few bubbles as possible into the mix, and wet enough that it pours easily, bubbles rise easily, and the final surface is smooth.

The Castalot cures for 15-30 minutes, depending on the wetness of the mix, before it is removed from the mother mold. At this point, it's ready to fire. I fire to 200F (95C) for four hours to drive out the remaining moisture, then ramp at 400F/hour to 1500F (815C). I then cool to room temp as fast as the kiln will go.

To prevent glass from sticking to the mold, I mix 1 part water to 1 part molasses, and apply to the molds at 300F using a chip brush. When one coat is dry, it's ready for the next coat. It usually takes about 15 minutes per coat. Other materials work, too: skim milk, cola - I think it's any liquid that has a high sugar content. The sugar burns and forms a carbon layer, perhaps similar to graphite. Thank you to Jay MacDonell for the recommendation to use skim milk as a mold releaseapparently a trick learned from Swedish glassblowers.

Before the first blowing, lightly torch the molasses coated surface with a MAP gas torch until it is dark brown to black.

Blowing into the mold takes some finesse. If you go in smokin' hot aiming to get all the detail you can from the mold, the glass is likely to stick. Go in too cold, and you won't get enough detail. There is a sweet spot somewhere that, like everything in glass, you'll have to figure out on your own. Oh, and like with pancakes, the first one never turns out very good, so don't waste your time on some complex color setup until you're happy with how the mold is performing.

Once the glass is blown, you can finish it as you see fit. We opted for hot popping and fire polishing, though pontiling and trimming can work well, too.

A detailed writeup of this process with pictures is available from my website4.

3 Dupille, Michael. “Castalot, Glass Mold Material.” Accessed July 1, 2024. michaeldupille.com/products/#castalot.

4 Gillespie, Brian. "Reusable Blow Molds using 3D Printing and Castalot." Accessed July 1, 2024. https://bgillespie.art/castalot-blowmold/

“Laziness, Mother of Creativity?”: How I Had to Create New Ways of Working in Order to Adapt to my Creative Space

By Ricardo Hoineff

My presentation at the conference was about my adaptation of theme, material, space and time in my work with fusing.

I was born in Rio de Janeiro, Brazil to a Jewish family and I traveled to Czechoslovakia in 1991 to study set design at the University of the Arts in Prague. Since then, I've been working as a set designer, specializing in television commercials and events.

My history with glass began much later, in my 40s, when I saw glass being blown in Nový Bor. A few years later, I graduated as a specialist in the creation and production of artistic glass. I studied glassblowing for three years at the Glass School in Nový Bor, but it wasn't until the last semester, when I was making my final piece, that I came into contact with fusing, which I then studied in depth and which became my technique of expression. I fell in love with the versatility and tranquility of the technique.

Artistically, compared to other glass techniques, fusing and slumping are not the favorites of artists. It's almost considered a second class technique, directly related to the production of

utilitarian objects, such as plates, or the classic upcycling of wine bottles, transformed into soap dishes, cheese plates, etc.

My first fusing piece was with glass spirals, typical of the crystal chandeliers of the region, made in the hot shop, then fused and slumped over a stainless steel mold in the kiln, transforming them into a new type of chandelier. The reaction of my teachers was one of surprise, as they had never used hotshop pieces for fusing.

In 2016, I set up my studio, which is only 30 square meters, but it has a 200 x 100 x 60cm fusing kiln, which is quite big and heated from the top and the sides. But there is little space left for the work of making plaster casts. The traditional process of making clay models and plaster molds is complex, laborious, and messy, consuming considerable time

Archangel Michael wins over Santan. 80x80 cm, fused slumped float glass with metal foil over RH dough. Photo: Filip Švácha.

Ricardo Hoineff at the conference showing mould. Photo: Pavla Rossini.

and materials, many of which end up being discarded. Ever since I was in school, making molds has seemed too laborious and dirty to be done in the same room as making glass. I just get lazy and find it a waste of time, because as soon as I've made the original sculpture, I want to move on to the next one.

After five years of working with fusing and slumping with already blown glass or cuttings and scraps from local glass factories, I tried to push the technique to extremes of size, weight, and bending within the capacity of my studio. Geometric and organic, colored and crystal, supported and suspended, flat and three-dimensional pieces were created, always using glass that "already existed," such as vase cuts or car headlight lenses.

In 2019, during an art program at Bild Werk Frauenau in Germany and the Bornholm Art Academy in Denmark, I met the artist Anna Mlasowsky, whose influence brought about a significant change in my artistic approach. Anna made me rethink my work, which led to a transition from abstract to figurative art, with a strong emphasis on minority and LGBTQ+ issues. I even had to rethink the materials in my fused glass work. During this creative process, I began to work with flat glass, but in three dimensions.

Since I didn't want to make plaster casts for the first tests, like a small maquette of the final work, Anna introduced me to a simple but unknown technique: making small sculptures out of wet clay and then blowing glass bubbles over them, printing the negative of the clay form, a technique I used in my school days, not on forms, but directly on "living" objects, like bananas.

For the first large work, the inspiration was the shape of two

people lying down and embracing each other under blankets, life-size. The relief that appears is of people, and it doesn't identify gender, color, nationality, sexuality. At first I made only one person as a test.

The idea would be to make a mannequin out of a material that is heat resistant and can be reused several times and maybe in several positions! However, the question would be what material to use. After some research, I created my first model using refractory cement, which allowed me to create a durable model that could be repositioned like a… mannequin. This experiment resulted in the installation #Underblankets, a work that has received significant recognition and is included in the Corning Museum of Glass's New Glass Review 42 catalog.

This success boosted my confidence to take on new work, new challenges, and to tell my stories. However, I needed a material that could be quickly molded into slightly smaller pieces, given the space constraints of my studio, transportation and storage. In addition, cement was still a problem because of the dust it created. In order to solve these problems and to continue exploring my new work, I was looking for a new material that was easy to use.

I always had problems with the disposal of the fiber paper (Thermal Ceramics, Kaowool 3mm) that I used to protect

Autoportrait #2. Bacchus, 180X40cm, fused slumped float glass with metal foil over RH dough.

Photo: Filip Švácha.

Me #2. 45x45cm, fused slumped float glass with metal foil over RH dough.

Photo: Filip Švácha.

the bottom of the kiln. After some time of use, this 2 meter by 1 meter blanket covered with Bullseye "shelf prime" would start to fall apart. When I renovated, I kept the old one, even though I didn't know what I was going to use it for. One day, inspired by the papier-mâché technique, I used a simple kitchen blender to make a paste of water and fiber paper and again used Bullseye shelf prime to bind it. This combination resulted in a highly malleable material, ideal for creating molds that could be reused to make new pieces over and over again with minimal repairs. I apply the paste directly to vermiculite boards. Afterwards, the mold can be scraped off the boards, mixed with water again, and ground in a blender. It's interesting to note that reprocessing the material improves the dough, making it even more refined and allowing finer details in subsequent creations.

The first liquefaction is always full of flakes, but it's easy to handle and gives the pieces an interesting texture. After the first slump, I scraped the mold, liquefied it again, and produced a finer paste, ready for detailing new molds. This material has several advantages:

1. The ability to make multiple copies of the same part.

2. Almost infinite reusability.

3. Recycling of fiber paper that would otherwise be discarded.

For my lecmo at the Berlin GAS conference, I brought the used fiber paper, the shelf primer and tools, vermiculite boards, a 45 x 45 cm form with my self-portrait and two pieces made in this form and another piece that is in the virtual GAS Member exhibition, Self-Portrait #2_Bacchus Dancer, with 180 x 40 x 5 cm.

I prepared the dough in front of the audience who came to experience the texture and experiment with the manipulation.

This innovative approach transformed my studio practice and demonstrated how laziness, usually seen in a negative light, can be a catalyst for creativity and efficiency. This method not only simplified my process, but also contributed to sustainability by aligning my artistic practice with broader environmental goals.

Ricardo Hoineff working in his atelier. Photo: David Turecký.

Intergalactic, Intergenerational, Beadweaving

By Adeye Jean-Baptiste

To understand Intergalactic, Intergenerational, and Beadweaving, I need to give you the context of my story and how those who have come before me and the new generation of craftspeople influence this work.

My grandmother was born in Ethiopia and spent almost all her life there. She would have never described herself as a crafty person, but as a participant in an age-old tradition of spinning cotton. Her draw to this practice stemmed solely as a way to participate in the gathering of women in the community. These meetings served as a way to check in on one another, an informal group therapy session, trade stories and advice, and commiserate in a safe space with like-minded women. It was the exposure to these traditions that would greatly influence my mother.

Born in Ethiopia, my mother has always been a crafty person. Anything her hands touch, she can coax to her will. My mother first gravitated toward two-dimensional mediums, but her later immigration to the United States in the 80s would mark a shift to three-dimensional mediums. Taking in her new environment, my mother created work using traditional Ethiopian and Colonial American techniques. This fusion of techniques can be easily seen in her crochet wall hangings or quilts. While my mother loves the craft of making, it is the conversations that occur during the process she enjoys most. Her practice is not solitary. I have so many fond memories of my sisters and me sitting around the kitchen table, swapping the hottest gossip at school while trying to learn how to chain stitch. We would look on in awe of her as she masterfully wove together threads while having multiple conversations and still being able to call us out if we skipped a stitch.

Then there’s me. Born in the U.S. to an African Mother and a Caribbean Father. I would describe myself as a crafty person. Like my mother, I am obsessed with the craft of making, but I think what inevitably led me to glass was my deep desire for community and camaraderie in the process of making.

While glass would inevitably be my future companion, my first love was movement. From an early age, I was always on the go. Hopping, running, jumping, and later scooting, rolling, and zooming. My passion for movement would shift as I matured towards the movement of people. This stemmed from my curiosity about my own family history. Attending predominantly white institutions throughout my early education, my family history differed significantly from that of my peers. Their start in America often began on Ellis Island or even the Mayflower. They were distant and removed from these “Coming to America” stories. For me, these stories were and still are present. The experiences feel almost tangible, not a bygone ancestor but my parents.

Zoom Zoom, 2024. Photo Credit Wubet Jean-Baptiste. Made with Fused Glass and Seed Beads. Dimensions 4in by 3in.

Portrait of my Grandmother, Woude Haile

Portrait of my Mother, Habtamua Lakew

This feeling of otherness didn’t just prevail in my storyswapping with peers but fundamentally in how I was raised. I might have been born in America, but I was raised in a fusion of African and Caribbean influences. This appeared in the food we ate, the traditions we upheld, and the pressure we faced to succeed. This feeling of otherness and, at times, alienation is what ultimately drew me to the sci-fi genre. My parents immigrated during the 80s, leading them to have an unexpectedly healthy appetite for science fiction films. I think what my parents saw in those films is a version of their own story. The journey into the unknown, the external fear of “outsiders,” and the ultimate battle against the ways of “human life” to maintain their identity.

I wondered how non-native people to a given space or place traversed the landscape. What aspects of their new home do they reject, and what do they accept or adopt? These questions would follow me to my collegegate education, where I took a landscape art and architecture class. This gave me an opportunity to unpack these ideas and ultimately push my work to where it is now. “The Alien” or “Star people” became a common motif within my work. The Alien becomes a metaphor for otherness. I use them to tackle the challenges of movement in a non-direct way. While they may seem like these happy-golucky creatures at first glance, when time is taken to peel back their visual layers, there is more. The blank expression on their face (are they happy or sad?) or the detailed beading encasing and protecting them. It is these details that I use to really flesh out the deeper, more serious narrative.

The first iteration of “The Alien” faces came about far before I knew what they meant. At the very start of my glass journey, I worked at a studio where the owner would allow me to fool around with scrap sheet glass. The experimentation with sheet glass grew alongside my beading techniques acquired through videos online and on-the-job training. Coming out of my limited time to create my own work early on, “ The Aliens” as they

are today were born. The beads were used as a way to encase, embellish, or create forms. When beading, the beads become interwoven and connected by thread, creating a beautiful lattice network that locks in the memories of the maker. On their own, seed beads are quite fragile, but when woven together, they are surprisingly strong and have the ability to protect what they surround. Color adds another layer when beading due to their ability to refract light and really play off the colors around them when working with a wide palette. When making with fused glass, I drew from philosophies in graffiti culture. I used minimal marks and colors to create a character that emotes and stands out. The combination of the two, the intricate complexity of the beading alongside the simplicity of the fused glass, visually flowed well with one another and captured the ideas and themes I want to convey.

Generations of makers have informed me and have given me the confidence to pursue the work I want to create. I want to continue to share my love for the craft of making but, more importantly, the community that comes together around it for generations to come.

Photo from Lecmo of me demoing how to do some basic beading

Alien Girl, 2019, Photo credit Tisnue Jean-Baptiste, Made with_ Seedbeads and fused glass, Dimensions_ 4in by 3in

From papier mâché to pâte de verre

By Saman Kalantari

In the ever-evolving landscape of contemporary art, the convergence of tradition and innovation often catalyzes profound artistic discoveries. My personal odyssey from Iran to Italy marked a pivotal juncture in my artistic journey, where I encountered the transformative potential of glass—a medium that resonated deeply with my quest to articulate socio-political narratives from the Middle East and navigate the complex tapestry of cultural challenges in Europe. This exploration has consistently propelled me to push the boundaries of glass artistry, driving me towards continuous experimentation and innovation.

A Journey of Exploration and Discovery

My foray into the realm of glass artistry began with a foundational education in mixed media and ceramics during my formative years in Iran. This early training instilled in me a robust foundation in craftsmanship and a keen appreciation for the expressive capabilities of different materials. However, it was my relocation to Italy that proved to be the catalyst for a profound artistic metamorphosis. In 2005, I embarked on a transformative two-year course at Vetroricerca Glas & Modern in Bolzano, Italy—an experience that would shape the trajectory of my artistic practice.

At Vetroricerca, I found myself immersed in a dynamic milieu of international glass artisans and instructors who generously shared their expertise and passion for the craft. This collaborative environment not only expanded my technical proficiency but also nurtured a fertile ground for creative exploration. Under the mentorship of Joan Crous, I was introduced to the intricate art of pâte de verre—a technique that utilizes sand as both a mold and a motif in kiln-casting glass frits. This method allowed me to create my initial pieces: delicate, paper-thin avions that embodied the ethereal translucency and tactile allure of glass.

Innovating with Glass-Paper:

In 2014 I presented “Paper-Thin Pâte de verre, A New Approach” at the GAS Conference in Chicago. Inspired by the tactile qualities of sandpaper and the resilience of abrasives, my artistic inquiry evolved towards pioneering the creation of flexible glass sheets (FGS), colloquially known as glass-paper. This innovative approach garnered significant acclaim and recognition within the glass art community. In 2015, I was honoured to receive the prestigious Technolo-

gies Advancing Glass (TAG) grant from GAS—an accolade aimed at supporting research and development initiatives that integrate cutting-edge technology with traditional glass artistry.

The essence of my research lay in refining a process wherein paper is coated with glass frits and powder, transforming it into a pliable material that can be cut, molded, folded, and sculpted with relative ease. This groundbreaking technique revolutionized the conventional perception of glass as a rigid medium, ushering in a new era of artistic possibility. By treating glass as if it were a sheet of paper, I sought to blur the boundaries between two-dimensional and three-dimensional art forms, inviting viewers to contemplate the fluid interplay between materiality, form, and narrative expression.

Exploring Mixed Media: Bridging Material Boundaries

As an artist committed to transcending the limitations of any single medium, I actively incorporate mixed media into my artistic repertoire. This interdisciplinary approach allows me to explore the synergies and contrasts between diverse materials, enriching the narrative depth of my artworks. Through

"Northlands," 2023. Pâte de verre, 20x9x6 cm. Photo Credit: Saman Kalantarie.

the fusion of origami, kirigami, and papier mâché techniques with glass, I transform ostensibly flat surfaces into intricately sculpted three-dimensional forms. Each piece embodies a visual dialogue that oscillates between the fragility of glass and the resilience of paper—an allegory for the interwoven complexities of human experience and cultural identity.

Symbolism of Sand: A Metaphor for Life and Regeneration

Central to my artistic philosophy is the symbolic use of sand as a molding material—a motif that transcends mere aesthetic function to encapsulate profound themes of cyclical renewal and transformation. In my artistic practice, sand serves as a metaphor for the perpetual cycle of life, death, and rebirth—a poignant reflection of the human experience and the enduring resilience of cultural heritage. By harnessing the elemental properties of sand, I aim to evoke a sense of temporal continuity and existential introspection within my artworks, inviting viewers to contemplate the inherent interconnectedness of all things.

Tools and Techniques: Crafting Handmade Paper

To embark on the transformative journey of creating glass-

paper, certain simple tools and materials are indispensable:

• Various types of paper (newspaper, A4, paper towels)

• Glass frits and powders (fine and powdered variants)

• Recycled glass, window glass

• Green sand for moulding and silica sand

• Glue for adhesion

• Metal strainers and frit sieves

• Spray bottles for wetting materials

• Cutting tools (scalpels, mats, scissors)

• Disposable respirators or dust masks

• Stainless steel containers in various sizes

• Assorted brushes for application

Step-by-Step Process:

Preparation: I start my process by recycling old newspapers, making paper pulp, and creating my own handmade paper to form three-dimensional objects or sculptures out of papier mâché. Then, I proceed by applying a thin layer of glue to the

2019, Saman Kalantari releasing the mold in his studio. Photo: Saman Kalantari.

Top: "Still Life," 2015. Variable dimensions. Pâte de verre, glass frits and confetti. Bottom: "Untitled," 2016. 12x12x6 cm (each), Pâte de verre. Photos: Saman Kalantari.

chosen paper substrate using a brush. I use a strainer or sieve to sift glass frits over the glued surface, creating successive layers until the desired thickness and texture are achieved. I accelerate the drying process using a hair dryer between layers to enhance adhesion and structural integrity.

Molding and Firing: Carefully place the prepared glass-paper model within a stainless-steel container filled with dry sand, ensuring complete coverage of the piece. Proceed to fire the assembly in a kiln, adhering to a meticulously controlled heating program tailored to the specific characteristics of the glass and desired artistic outcome. Ventilation and protective gear such as respirators are essential during this process to mitigate exposure to frits and powdered glass.

Firing Program: Optimal firing involves a gradual increase in temperature to expel moisture and ensure uniform heat distribution throughout the glass-paper structure. Following the firing cycle, facilitate a controlled cooling phase to temper the glass and prevent thermal shock, culminating in a meticulous annealing process to fortify structural integrity.

Post-Firing Treatment: Upon completion of the firing cycle, delicately extract the glass-paper from the sand mold, exercising caution to preserve its delicate form. Subsequent sandblasting may be employed to refine surface texture and

clarity, enhancing visual transparency and tactile allure.

Cold Working Considerations: While minimal cold working may be employed to refine edges and contours, exercise judicious care due to the inherent fragility of the glass-paper composite. Embrace the rustic aesthetic imbued by the sand mold, as it evokes an organic symbiosis between materiality and artistic intent.

Conclusion: A Visionary Fusion of Art and Innovation

In conclusion, the evolution of paper-thin pâte de verre stands as a testament to the transformative potential of artistic innovation within the realm of glass artistry. By bridging the gap between tradition and fresh ideas, I have endeavored to redefine the expressive capabilities of glass, fostering a dialogue that transcends cultural boundaries and temporal constraints. Through the tactile allure of glass-paper, I invite viewers to embark on a visual journey that celebrates the resilience of artistic vision and the enduring legacy of cultural heritage. As I continue to push the boundaries of conventional artistic paradigms, I remain committed to exploring the inherent interconnectedness between materiality, form, and narrative expression—a testament to the profound and enduring power of art to provoke, inspire, and transform.

"Silk Road Istanbul," 2019. 8x12x40 cm, Pâte de verre. Photo: Saman Kalantari.

Adding Imagery to Cast Glass Works: A Process Overview

By Brenda Page

In my lecmo at Berlin, I explored adding imagery to kiln cast works. The primary objective was to create solid cast glass objects that encapsulate images within their structure without distortion, ensuring they remain perfectly clear and intact.

To demonstrate this, I used the form of cast glass chalices. The imagery incorporated fused, screen-printed, powder-printed, and painted glass. The two components were prepared separately and then fused together in a final firing. Here’s a brief overview of the process.

Creating the Cast Glass Components

The cast parts of the pieces were created using the lost wax method. Initially, I made a mother mould of the chalice using a three-part plaster mould, though latex or silicon could also be used. I poured liquid sculpting wax into the wet plaster mould to create the forms. When using plaster as a master mould, it needs to be soaked, preferably in warm water for about an hour, to ensure the wax doesn’t leach into the plaster surface and cause the wax to adhere to the mould. Once cool, the wax was cleaned up and invested in a refractory mould made of a 50/50 plaster-silica mix. After steaming out the refractory mould, the piece was kiln cast using Bullseye Glass.

I prefer to cast my glass using an external crucible, such as terracotta pots, rather than a built-in one. An external crucible helps eliminate bubbles, especially when using sheet glass to create blended colours.

My initial cast firing schedule was:

1. Up to 100°C at a rate of 50°C per hour, hold for 12 hours with bungs out.

2. Up to 600°C at a rate of 50°C per hour, hold for 90 minutes.

3. Up to 850°C at a rate of 100°C per hour, hold for 5 hours, bungs in at 700°C.

4. Cool to 482°C at a rate of 75°C per hour, hold for 15 hours.

5. Cool to 430°C at a rate of 3°C per hour, no hold.

6. Cool to 380°C at a rate of 4°C per hour, no hold.

7. Cool to 200°C at a rate of 15°C per hour, no hold.

8. Cool to 80°C at a rate of 50°C per hour.

Once cool, the cast glass was divested, cleaned, and the top surface of the chalice was ground on a flatbed to a 400-mesh

finish. The addition of the fused and painted component needs to sit completely flush with the cast section in the final firing, as small gaps can cause bubbles that can rise and interrupt the imagery.

Creating the Imagery Components

To create the imagery for these types of cast glass pieces, I use a combination of screen printing, painting, and fused glass techniques. This process begins with generating the images, which are then transferred to screens of 110t mesh (metric size) in a darkroom. Once the images are on the screens, I screen print them directly onto sheets of 3mm glass. I use an industrial water-based glass enamel that comes pre-mixed and fires at temperatures between 700-800°C. I avoid using cadmium reds due to their tendency to burn out during firing. Instead, I use Bullseye powders to achieve vibrant reds, pinks, and purples.

The next critical step is firing the enamel images onto the glass before incorporating them into a fused stack. This process temperature is 690°C, with a ramp rate of 150°C per hour, holding for 10 minutes. Following this, an annealing cycle suitable for 3mm glass is used.

Artist Brenda Page, 2024. Cast glass with screen printed and fused addition, 12 x 12cm - detail.

The imagery component can be any thickness and might be thicker than the cast piece. The pieces made for the demonstration varied in thickness from 9-15mm, depending on the layers of images and the depth of clear glass I wanted above the image. The layers were cut into circles and stacked in a fibre paper mould to prevent the glass from spreading. I always allow at least two layers of clear glass on top, as this surface will be cold worked to a high polish after the final firing.

Because I work with uneven layers with wafers and additional powders, I fire more conservatively than in a regular fuse firing. For these works, my firing schedule was:

1. Up to 600°C at a rate of 120°C per hour, hold for 30 minutes.

2. Up to 650°C at a rate of 30°C per hour, hold for 90 minutes.

3. Up to 800°C at a rate of 300°C per hour, hold for 10 minutes.

4. Cool to 482°C as fast as possible and hold for 2.5 hours.

5. Cool to 430°C at a rate of 15°C per hour, no hold.

6. Cool to 380°C at a rate of 40°C per hour, no hold.

7. Cool to 300°C at a rate of 70°C per hour, no hold.

8. Cool to 80°C at a rate of 100°C per hour.

This firing schedule includes an extended bubble soak, and the annealing times are based on the thickest glass in the kiln (15mm). Once cool, the edges of the glass were ground and polished to a 400-mesh finish.

Combining the Components

To join the two (or more) components, I use pure beeswax. Initially, I seal the edges of the joins and then work the beeswax to create a 2 to 3 mm surface that completely covers the joint. This layer of wax is sculpted to emulate the existing pattern of the cast object, in this case, the cut and carved surface of the chalice. The intention is to create a seamless contour, so where each component starts and ends cannot be detected. Once reinvested in the mould, the beeswax burns out in the kiln, allowing the two glass components to relax into the new form and fuse together. It is important to only use pure beeswax for this process, as it burns out cleanly without leaving residue and is not carcinogenic like sculpting wax when burned.

With that in mind, I never use more than a tablespoon of wax in a cast this size, as too much wax will offer too much room for the glass to flow, distorting the image. Beeswax is a problematic sculpting material due to its low flexibility and tendency to crumble. I find using heated metal tools helpful for working the surface.

Once the components are firmly attached to one another and there are no gaps where refractory material can seep in, the piece is reinvested in a 50/50 plaster-silica mould. The piece is then refired using a fuse firing schedule but with careful consideration of the ramp-up and annealing cycles. For the chalices, I used the following firing schedule:

1. Up to 100°C at a rate of 30°C per hour, hold for 12 hours with bungs out.

Artist Brenda Page, 2024. Cast glass with screen printed and fused addition. 12 x 12cm.

Screen printed and fused stacks of glass in the kiln for a fuse firing prior to being added to the cast component.

2. Up to 200°C at a rate of 20°C per hour, no hold.

3. Up to 600°C at a rate of 40°C per hour, hold for 30 minutes.

4. Up to 650°C at a rate of 30°C per hour, hold for 90 minutes.

5. Up to 820°C at a rate of 100°C per hour, hold for 30 minutes, bungs in at around 700°C.

6. Cool to 482°C at a rate of 75°C per hour, hold for 15 hours.

7. Cool to 430°C at a rate of 2°C per hour, no hold.

8. Cool to 380°C at a rate of 3°C per hour, no hold.

9. Cool to 200°C at a rate of 10°C per hour, no hold.

10. Cool to 80°C at a rate of 40°C per hour.

Stages 3 and 4 include an extended bubble soak to relax the two components together. The ramp-up rate is slow to minimise the risk of the cast glass cracking.

Once cool, the work is devested and cold worked as required. This process can also be used to create individual elements of cast glass and join them in a second firing.

All firing schedules are for Bullseye Glass and are in degrees Celsius. If you would like more information about any of the processes mentioned, please feel free to reach out to me at brenda@brendapage.com.au

Process shot of beeswax joining 3 pieces of glass together before reinvesting in refractory mould.

Artist Brenda Page, 2024. Cast glass with screen printed and fused addition. 12 x 12cm.

LECMO

Is it a window or not?

By Aaron Peters

Is it a window or not? is a simple, yet unanswerable question when pondered long enough. You might be thinking: “I know a window when I see one.” I could not shake this question out of my mind. Because of the accessibility of the copper foiling technique (also described as the Tiffany technique), there has been a rise of artists working in stained glass. Many of these artists are self-taught and have created a multitude of experimental approaches to working with stained glass, changing the “craft’s” purpose and possibilities. For my lecmo, I talked to artists who successfully work in stained glass not in an architectural or stained glass studio context. Talking to five artists who have worked with stained glass (Earth Ængel, Justin Tyner, Timo Fahler, Fin Simonetti, and Ju Young Kim), I found that creating a traditional stained glass window was not the main concern or possibility for most of these artists. By employing profound ways of integrating stained glass into installation and sculpture, using non-traditional materials, and building three-dimensional artworks, these artists have reconfigured what stained glass art can be.

It has become clear that the question “is it a window or not?” is more appropriately asking: “when do we invest or concern ourselves with a craft’s history or original purpose?.” Stained glass’ function throughout history has been the window, as well as expressing religious messages for centuries. All these artists have grappled with both these facts in different ways, either subtly or directly. For this publication, I have altered the question, and come to you, dear reader, with the inevitably failing aspiration to answer it. For the 2024 Glass Art Society Journal, can you help me answer the question: “what

is a window?”

What is a window?

A window is a doorway.

A window is a portal.

A window is a frame.

A window holds an image.

A window is not just an image.

A television is not a window.

A window is a mirror.

What do we want most from a window?

A window is for seeing through.

A window is for passing through.

A window isn’t always open.

A window is not for passing through.

A window is not a wall. but is still a type of barrier.

Don’t throw rocks up to your lover’s window to get their attention, it never works.

A window is not a person

A window is not a living thing.

A window is a construction.

A window is part of our architecture.

A window has two sides or more.

There is never just one window, there’s always another nearby.

Press your ear up to a window and listen.

All windows have a bottom.

A window is not always flat.

A window is not load bearing.

Never stand on top of a window. Never stand next to a window during a tornado, hurricane, or an earthquake. Breaking a window is not bad luck, it is good luck.

A window can be as thin as a ____ or as thick as a ____.

On a good day, a water’s reflection is a window.

A window needs context.

What is a window?

A window is nothing without the two spaces on each side of the window. Does a window need an “inside” and an “outside” on each side? Or is a window just in-between the space I am in now and the space outside of where I am now. A window holds the space of the in-between, is that something? In-between something is some-thing, right? A window is any opening in a wall, door, roof, or vehicle. Windows are usually made from glass, plastic, paper, or any translucent material that still allow for the exchange and passage of light, sound, and sometimes air. But a window could just be an opening with no material barrier, an opening full of “nothing”.

Here is a list of all the different types of windows in architecture, that’s got to

Timo Fahler, two-headed serpent, mirror, 2023. Steel, cast iron, stained glass, copper, lead, 30” x 45” x 4.” Image courtesy the artist and Sebastian Gladstone Gallery. Photo by Nik Massey.

be something:

Cross window

Eyebrow window

Fixed window

Single-hung sash window

Horizontal sliding sash window

Double-hung sash window

Cottage window

Fold-up window

Casement window

Awning window

Hopper window

Pivot window

Tilt and Slide window

Tilt and Turn window

Transom window

Side-light window

Jalousie window (louvered)

Clerestory window

Skylight window

Roof window

Roof Lantern (cupola)

Bay window

Bow window

Oriel window

Picture window

Stained glass window

Witch window (Vermont)

Multi-lite window

Emergency Exit window

French window

Double-paned window

Hexagonal window

Guillotine window

Center pivot window

Thermal window (Diocletian)

Garden window

Glass block window

Storm window

Egress window

Rose window (round)

Radius window

Lunette window (half-moon)

Dormer window

Two panel slider window

Three panel slider window

Palladian window

Porthole window

Windshield window

What is a window?

Imagine a window.

What is the window material made from? Glass? Paper? Plastic?

Something else?

How many panes are in the window? What is the frame of the window made from?

Can you describe the light coming in through the window?

You are looking through the window, what colors do you see on the other side of the window?

Imagine the sounds on the other side of the window.

Imagine the smells on the other side of

the window.

Imagine how the temperature feels on the other side of the window. Where are you while you look out?

Is light the most important thing that passes through a window? Maybe we should stop working once the sun goes down and when our window-light runs out for the day. Many of us are truly not outside for most of the day. Maybe that is what a window was really made for, to tell us it is time to wake up, sleep, or just transition to something else. Think about a casino’s tactic to keep you gambling. No windows to understand when time has passed, to see when the light of day has left or arrived, to decide “alright time to do something else”. A stained glass window acts as a vessel for light. It captures, holds, and casts light in real time. An ever changing, light-in-action activates and highlights the lines, colors, and image in the window. Light, an essential part of life, turns into a dazzling mixture of color and refraction when passing through stained glass, a hypothetical transformation of water into wine.

What is a window?

Please draw a window that doesn’t exist yet.

Left: Ju Young Kim, I'm standing on the Edge of the Land, 2022. Original aircraft window and stained glass. 110 x 49 x 26 cm, 43 ¼” x 19 ¼” x 10 ¼”. Photo by Younsik Kim. Center: Justin Tyner, Glass Flower, 2024. Found glass bottle bottoms, historic stained glass, dalle d'varre, copper wire, lead, flower. Right: Aaron Peters, from now ‘til infinity, 2024. Found glass (New York, June 2023, and Columbus, August 2023), seashells from mom, white gold overglaze, enamel, lead, steel, copper. 6” x 7” x 11."

Practical Magic: Now You See It…

By Nate Ricciuto

The projects and ideas that eventually led to this lecmo began several years ago, because of my participation in the 2021 Momentum Intersection program. Organized by The Arts Commission of Greater Toledo (Ohio, USA), this fellowship provides opportunities for selected artists to develop new works in collaboration with NSG Pilkington North America, a leading international manufacturer of sheet glass. Through inviting artists to observe the inner workings of the float glass process, creating partnerships with industry experts, and supplying specialized materials and equipment, the Momentum Intersection program seeks to generate new ways of thinking about glass between the fields of industry, art and design.

In addition to being one of the pioneers of float glass technology, Pilkington develops a range of engineered coatings that are applied to the glass during the manufacturing process, lending unique properties and capabilities to these materials. Referred to as pyrolytic coatings or chemical vapor deposition, this process involves vaporizing various metals within a heated environment so that they can be deposited on the glass surface as it is being formed. Pilkington has created many types of coated glass, but I chose to focus my experiments on products with reflective (optical) coatings, electrically conductive (invisible) coatings, and hydrophilic coatings that interact with water.

At this point it would be worth mentioning that, while this may sound a bit technical, my true interest in working with Pilkington was based more in a cautious curiosity or wariness about complex, opaque systems than a serious desire to understand the science behind these highly specialized materials. I was attracted to the possibility that a window could be doing something more than what was immediately apparent, whether that be helpful or otherwise. After all, a window is transparent. It is simple, efficient, and seemingly innocuous, as are all technologies that become indispensable parts of our daily lives. But what do we give up when efficiency becomes the highest good, and what are we ignoring when we assume that new technologies are strictly beneficial?

With these questions in mind, I started to consider the ways that these amazing innovations in glass material (especially those with invisible capabilities) could help us to engage with the murky space between doubt and belief. As my research continued, I learned that the most widespread application for NSG TEC conductive glass is preventing condensation on glass doors in grocery store refrigerators and freezers. The

glass surface is heated to just above ambient room temperature by sending a low level of electrical current through the invisible conductive coating, keeping the doors fog-free so you can see all the types of frozen pizza! To put it another way, water vapor is constantly surrounding us in the form of humidity, but we never notice until it becomes condensation on an otherwise transparent surface, obscuring what was once in plain sight.

Windows that integrate conductive glass panels are also becoming commonplace in buildings with wireless data security needs. I decided to use NSG TEC glass to create an immersive sculpture that would highlight the pervasive invisible phenomenon of electromagnetic waves. This project, titled Bellwether, utilized the invisible conductive coating to create a transparent enclosure that would interfere with wireless systems such as cellular signals, radio transmissions,

As Above So Below, 2024. 16” x 12” x 12.” Water, heat lamp, mirror, Pilkington ACTIV glass, laser ablation. Condensation on the interior surface of the glass panel behaves differently where the hydrophilic coating has been removed, making the text legible. All photos by Nate Ricciuto.

and WiFi. Usually constructed from wire mesh or metallic foil, this shielding structure is known as a Faraday cage and is widely used in medical imaging and scientific experiments where electrical interference is a concern.

As it happens, Faraday cages are also a favorite DIY project of conspiracy theorists with distinct, but related concerns. With the increasing interconnectedness of our devices and our growing reliance on wireless technologies has come paranoia about the potential negative physiological effects of microwave radiation, government surveillance, and the security of personal information. This sculpture was fashioned in the style of a backyard utility shed, and sought to draw connections between craft sensibilities, DIY culture, and outsider beliefs. The environment inside Bellwether was intended to provide participants with a degree of isolation from digital connectivity, with effects ranging from therapeutic to disorienting, calling attention to our dependence on digital devices and resulting psychological states. Coming about during the COVID-19 pandemic, this project was also influenced by the

upwelling of distrust in scientific institutions and an increasing sense of competing and contradictory versions of reality.

In a further exploration of themes of uncertainty, delusion, and distortion, I began to develop projects that would utilize Pilkington reflective coatings in engaging with optical illusions. As opposed to traditional mirrors where silver is applied at room temperature and backed with enamel, glass with reflective pyrolytic coatings has a couple of unique advantages. First, it can withstand some kiln processes since the coating is fired onto the surface. Second, the mirror surface can be semi-transparent (two-way mirror). My initial interest in working with a two-way mirror was its common association with police interrogation or clinical observation rooms, where the desired effect is a window that is only transparent in one direction. While I think of these settings as somewhat ominous (the onlooker is concealed in darkness behind the mirror), most of my experiments have taken a playful approach, contrasting silly optical tricks with misdirection and deception.

Bellwether, 2021 (installation view.) 9’ x 10’ x 8.’ Conductive glass panels, radio, aluminum, wood, electrical components, environmental controls. This interactive sculpture uses specialized glass panels to shield the interior from various types of wireless signals.

NSG TEC with Jumper Cables and Egg, 2024. 8” x 8” x 3.” NSG TEC conductive glass, aluminum foil, jumper cables, egg, spatula (not pictured.) The pieces of conductive glass were heated by supplying AC voltage through jumper cables, at which point a raw egg was dropped on the hot glass, causing it to crack.

In the most recent extension of my interest in interactions between glass and invisible phenomena, my focus has returned to water vapor and condensation. As another nod to fringe beliefs and fantasies of off-grid escape, I have used glass panes to construct iterations of DIY solar-powered water purification systems. This project has been expanded to include the use of Pilkington ACTIV coated glass, with the goal of creating a situation where text and/or images are revealed on the glass surface as purified water is evaporating and then condensing. This coating is not visible to the naked eye and is hydrophilic, meaning that water behaves differently on a surface coated with ACTIV than it normally would, sheeting instead of beading. Working with technicians at Pilkington, I created a digital text file that guided a laser ablation machine to selectively remove the hydrophilic coating. In theory, this process can remove areas of coating from the glass without visibly etching the surface. While not entirely successful, I appreciate these investigations as a kind of whimsical, speculative approach to problem solving and design.

It was a natural step to translate my ongoing experiments with technical glass coatings into a playful interactive presentation for the GAS conference. Overall, my exploration of the possible uses of these industrial materials within a craft practice has been roundabout, embracing flawed methods and leaving room for unexpected outcomes, and being willing to attempt things that are overly complex and likely futile. I hope that some humor, and a touch of irreverence were reflected in both the ideas presented and the examples and techniques on display.

Off-Grid Solar Water Purification System, 2023. 4’ x 3’ x 4.’ Found glass, dirty pond water, tubing, OSB, bucket, solar energy. This solar distiller was created during a workshop at Pilchuck Glass School in 2023, where water was scooped from the pond and transformed into a drinkable substance.

Alongside discussions of popular internet conspiracy theories, demonstrations included using NSG TEC conductive glass to interrupt signals to a handheld transistor radio, and fashioning a small infinity optical distortion chamber from an LED lamp and two pieces of semi-transparent mirror which were slumped to create convex lenses. I also created a makeshift solar condenser contraption to be used in revealing (mostly) invisible text on a piece of ACTIV coated glass, while some jumper cables and two pieces of NSG TEC were transformed from an unconventional cooking surface to an honest-togoodness electrical glass etching system. In any case, it was a pleasure to have an occasion to play with glass and make some new friends.

Thank you to Kyle Sword and NSG Pilkington, and to The Arts Commission of Greater Toledo. Thank you to the Glass Art Society for the opportunity to present and to those folks that were able to participate in Berlin. Remember, we did fry that egg just like we said we would.

Synergies between Digital Design and Glass Art

Helen Slater Stokes

Within my practice I work between analogue and digital design processes. I use these to develop glass artworks that challenge our understanding of what we see, by creating three-dimensional illusions within the glass.

The understanding of how we perceive three-dimensional depth, via our binocular vision, is not new. As early as the 4th century BC Greek mathematician Euclid was credited by some with the discovery of the principles of binocular vision. But today, with the interest in 3D virtual technology, the launch of glasses-free 3D televisions, virtual reality headsets and now augmented reality, the process of working with binocular vision, imagery and kinetics to create the illusion of 3D depth, is being explored further than ever before. It is also important to note that this is a phenomenon which isn’t restricted to the arts, entertainment and leisure industry, but is technology that is reaching into research, surveillance, inspection, process control and a wide variety of medical applications1

I have been working as a kiln-formed glass artist for the last twenty-three years, since completing my master’s degree at the Royal College of Art in 1996. Part of this practice has been making and selling glasswork, via galleries, and working to public and private commission. It has been a varied practice, and this knowledge, in addition to teaching, has informed my work and enabled me to continue my research into glass.

Whilst making glasswork I had begun to focus on drawings and images in glass and how these could start to communicate spatial depth. These works capture spaces and places that are important to me. And it is this notion of capturing perceived spatial depth within glass that has always interested me, ever since I gazed into crystal gardens, chemicals grown in glass jam jars, as a child. (See figure 1)

I had been fascinated by watching these miniature worlds grow behind the distortion and magnification of the glass, and it was these forms or images within glass that have always captured my imagination. These surreal, watery worlds held a reference to artefact and capture, through subconscious associations to conservation and preservation. They were also ethereal and dreamlike, appearing otherworldly and poetic. This visual reference to glass as a preservative material encasing moments, colour, movement, bubbles and imagery is something I have drawn upon within my work, as I attempt to recreate remem-

https://www.techbriefs.com/component/content/article/tb/features/articles/11932 [Accessed 29/03/19

Figure 2. Helen Slater Stokes, Escape, 2022, Kiln formed glass, 27 x 27 x 5cm.

Figure 1. Crystal Garden, Innovating Science, Silica Garden Chemistry Kit 2024.

1. Paul Dempster. 3D Imaging Technology Changing the Way We Look at Things. (Nov 1st, 2011)

bered places from my past, via virtual spaces within the glass. (See figure 2).

My PhD research, carried out at The Royal College of Art London, gave me the opportunity to investigate new technical possibilities and to examine how we perceive an image within this optical material.

My GAS presentation discussed how we perceive three-dimensional depth, medically and cognitively, the optical cues used to create drawings that capture three-dimensional space, and my recent research. Here the fabrication of a 2D image is only half the story. The other element is glass and its optical properties.

Glass as a material has a wealth of illusionistic qualities. It has the ability to reflect2, transmit and refract3 light and, within the context of the image, the visual qualities of glass enable images to become magnified, reduced, inverted and diffused in appearance. Most people are familiar with the optical characteristics of glass, as listed above, but it is its transparency, which enables us to view framed imagery within our homes or look out of windows to view the outdoor world, which is most familiar to us. This symbiotic relationship between glass and a captured image or scene, as a device to view something through, allowing us to look into a space, has existed for centuries; records evidence the existence of Roman cast glass picture windows as early as 100 A.D. Initially, however, this kind of glass was not created for its ability to allow the viewer to see through it, but more as a defence to protect the interior from the elements. The transparency of glass, through the refinement of manufacturing and

production processes, has now become its most recognisable quality.

This connection between glass and the capturing of scenes, landscape and spaces which gives the viewer the sense of looking into or out at another world is something that has always fascinated me. Glass allows the framing of views via windows and the capturing of scenes or spaces within paperweights, snow globes and digital technology.

Building on my previous layered drawings in glass, I began working on more advanced optical and lenticular lens-based artworks. To create these pieces, it was necessary for me to grasp the knowledge of how we medically and psychologically see the world, and then learn how to work digitally to create specialist lenticular imagery, whilst practically developing a methodology to kiln form a functioning glass lens.

Human visual perception intrigued me, and I focused on how we optically perceive and interpret three-dimensional space, exploring the optical cues that inform our perception, and how these cognitive and physiological signals are decoded to make intellectual judgements about objects and positioning within a given environment. (See figure3).

This included research on how these optical cues have been used by artists to capture the three-dimensional world. By analysing historical and contemporary references my work examines how we are able to depict the natural world around us within the two-dimensional pictorial plane. This plotting of

2. Reflection – The return of light, heat, sound or energy. A reflection is also an image seen in a mirror or other shiny surface. (‘Reflection’, Cambridge Dictionary, https://dictionary. cambridge.org/dictionary/english/reflection

3. Refraction – The fact of light or sound being caused to change direction or to separate when it travels through water, glass etc. (‘Refraction’ Cambridge Dictionary). https://dictionary.cambridge.org/dictionary/english/refraction

Figure 4. Spheres deigned in Rhino 3D Software (Left) and the same image digitally interlaced (Right).

Figure 3. Optical Cue Diagrams, Helen Slater Stokes, RCA Repository. researchonline.rca.ac.uk/4753.

developments in mimetic illustrations, that adhere to Gestalt4 principles and the use of mathematical perspective, reference how we use both pictorial and optical cues.

As mentioned, through the use of new technologies, the way the visual image is used and perceived has changed. Now there is the emergence of a new visual language, it is interactive and immersive. This is a language that I am beginning to exploit in my work. By creating a three-dimensional image that operates with an optical glass lens, these drawings, or digitally rendered shapes in space, can animate and appear as almost holographic interactive three-dimensional artworks. They allow me to fabricate a virtual space.

Here glass is no longer the conduit through which we look at a scene or image, it is the catalyst. And its form activates the image, generating a new perception of the image within. Elevating this two-dimensional rendering to a higher level, to an animating three-dimensional composition that floats in front of the glass. Perceptively, it also allows the image to supersede the surface or the depth of the glass itself, as it appears to be projected by the material.

To make these pieces, initially digital images are created using Rhino 3D and Photoshop software. (See Figure 4). These are then interlaced digitally into thin strips that are less than 1 pixel in width.

Then finally a glass lenticular lens is cast in the kiln and the image is calibrated to match this lens. The piece can then be built in sections, cast in the kiln, ground and re-fired and finally ground and polished before the kiln formed glass lens is applied. (See figure 5).

The intention for this practical development of my work was to focus on the creation of a spatial image in glass, to challenge the viewers perceived understanding of the image, and through perceptual illusion, extend the image beyond the physical boundaries of the glass form. This almost holographic notion of the image is something that exists within modern technology, but has not yet been fully examined and exploited using the medium of glass. It should be noted additionally that the objective for this new conception of an image in glass was to create imagery which functioned from an analogue standpoint, rather than employing a moving image, LED, or digital screen generated holography.

This work communicates and engenders observed depth or spatial references solely through a combination of two-dimensional imagery, a lens, and the viewers interaction with the glass artwork. When viewing the work each person will see a different view depending on their position in relation to the piece. The imagery will appear to individually track them, and they might perceive the forms or animation differently, as the generation of the perceived virtual space or image is located in the on looker.

For more information and to read my PhD Thesis, go to the RCA Research Repository: researchonline.rca.ac.uk/4753

And to see further examples of my work click on the Vimeo links below:

vimeo.com/manage/videos/904913942 vimeo.com/manage/videos/904912537

4. Gestalt Principles are principles/laws of human perception that describe how humans’ group similar elements, recognize patterns and simplify complex images when we perceive objects. Interaction Design Foundation - IxDF. (2016, August 30). What are the Gestalt Principles? Interaction Design Foundation - IxDF. https://www.interaction-design.org/ literature/topics/gestalt-principles

Figure 5. Helen Slater Stokes, Oculus, 2019, Kiln formed glass, ceramic transfer and Hxtal adhesive. 27 x 24 x 5 cm.

Figure 6. Helen Slater Stokes, Proximity, 2021 (detail). Kiln formed glass, ceramic transfer, oak frames. 120 x 25 x 4cm.

Freeze Casting with Borosilicate Glass

By Carrie Strope

For the GAS conference in Berlin, I prepared a site-specific demonstration. I arrived a few days early so I would have time to sightsee and explore the city and its famous street art. I collected some discarded spray can caps near a wall that had been heavily painted and used these for my models. In addition to my experiences with freeze casting borosilicate glass, I gave a brief overview of the young technique’s history in borosilicate glass, spotlighting the contributions by various artists from 2006–2024 before demonstrating how to pour a two-part silicone mold around the caps, and then turned them into borosilicate glass caps to incorporate in some pendants.

My Story with Freeze Casting Boro

In September 2006, my glass journey began at Mitcavish Glass Studio in Napa, CA, where I first encountered the Freeze and Fuse technique under the guidance of Phil Teefy. Phil had recently learned this innovative method from Paul Kimball, a pioneer of the technique, at Hot Glass Horizons in Corning, 2005.

The workshop involved collecting leaves to create two-part silicone molds, into which we poured a mixture of glass powder and water. After freezing, the glass was turned out of the flexible molds and fired on kiln-washed shelves, transforming into intricate sculptural pieces. These creations could either stand alone as finished works or be further manipulated in the kiln, furnace, or torch.

Initially, I was captivated by the process but lacked direction on integrating it into my artistic practice. It wasn't until years later, spurred by student requests and a renewed curiosity, that I returned to explore Freeze and Fuse with a fresh perspective.

In October 2022, while preparing for a fusing intensive that included Freeze and Fuse techniques, I sought out various molds suitable for experimentation. I discovered an array of silicone molds designed for soap, candles, chocolates, and more, ideal for Freeze and Fuse applications. Recognizing the importance of testing molds before committing, I began with succulent shapes, preparing color samples in anticipation of the class.

During this period, a local student expressed interest in using grinder sludge from our stained glass studio—a mix of ground glass and water residue—for creative purposes like crafting

Collaboration with Chris Hurley, Carrie Strope, 2024.

"dragon poop" for fairy gardens. Intrigued but uncertain of the outcome, I collected the sludge during grinder cleanups and fired pieces expecting them to crumble due to incompatibility. To my surprise, they not only survived, but exhibited remarkable durability, even bouncing off the floor upon impact.

Buoyed by this success, I scaled up my experiments, exploring larger forms like a woman's torso mold. Using grinder sludge allowed me to push boundaries without the pressure

of wasting costly glass. Despite challenges—like structural instability due to top-heaviness—I found innovative solutions, like interrupting the firing schedules and coldworking before continuing with the firing. Additional successes included being able to combine individual grinder sludge components at the torch using clear soft glass.

My experimentation then extended to borosilicate powder in the process, initially yielding a disappointing success rate illustrated by the scores of toppled glass succulents. Perplexed by why seemingly incompatible glasses fused more successfully than expected, I delved deeper into the science behind glass behavior, pinpointing the absence of flux as a crucial factor.

After all, the studio glass grinders are right next to a band saw used for cutting lead and there were definitely lead shavings that leached into the water basins. The lead soaks into the water and becomes lead oxide, which lowers the working temperature and helps the glass flow together.

Inspired by this discovery, I explored flux alternatives for borosilicate. I experimented with borax and adapted a DIY devitrification solution, traditionally used in soft and stained glass fusing, to see if I could encourage the borosilicate particles to flow together.

This adjustment boosted my success rate from 20% to a perfect 100%, all while maintaining glass compatibility. This breakthrough not only validated my persistence but also underscored the importance of understanding material properties and leveraging unconventional sources in glass artistry.

Their Story

In searching for the first borosilicate freeze and fuse, my research hit on a handful of people who had experimented with the technique. In 2006, Elijah Aller (@elijah_aller) made a glow in the dark borosilicate glass shell. There’s not enough room to share all of the contributions of the following artists who have experimented with the freeze and fuse technique in borosilicate:

2011 Kiva Ford @kivafordglass

2012 Dave Winship

2014 Kurt B @kurtbinstagramming

2015 Aymie McKesson @aymiemckesson

2015 Michael Mangiafico @deedleweed

Demo

Preparing silicone molds

• Construct a mold box and pour the silicone about ¼” (6mm) larger than the model on all sides but the opening.

• Securely attach your model to the bottom.

• You may need to use a release on your item so the silicone doesn’t stick to it (leaves and porous materials like wood or fabric).

• Mix part A and part B by weight or volume according to the package instructions and pour to fill the mold. Aim a thin stream of silicone at a flat spot to the side of the model and let the silicone flow around and over the model to cut back on bubbles.

• After the silicone cures, you can remove the mold box.

Collaboration with John Boley, Carrie Strope, 2024.

• The mold is ready to use after fully curing.

Considerations when choosing silicone:

• Shore strength – higher number = stiffer; generally, 15-25A is what is generally recommended for molds with undercuts or more complicated designs. The shore strength is going to affect the lifespan of the mold and how flexible it is. If it's too stiff, it's going to be hard to get your mold off of the model.

• Different silicones have different curing times, as well. Some take 30 minutes to a few hours and tend to be a bit stiffer. The ones that take longer to cure (6-8 hours) are typically more flexible and work great for undercuts.

• Sulfur inhibits the curing of silicones, and tin cure and platinum cure should be kept separate as they will also inhibit the curing of the other.

Freeze and Fuse

Originally coined “Freeze and Fuse”, alternative names include: “cold casting” and “freeze casting.” The technique was discovered around 2004. It uses frozen water and compaction to support the cast piece instead of traditional binders.

Glass powders are mixed with water in a slurry, with excess water being poured off. The slurry is then used to fill flexible silicone molds. After being frozen, the glass is turned out of the mold onto a kiln washed kiln shelf and fired. Due to the particulate nature of the design, the glass shrinks roughly 15% in all directions during the casting process.

Why might you want to use freeze and fuse with boro?

• You can lay it down in gradients and get different effects that way.

• You can mix custom colors.

• You get greater control with exact placement of colors

• Consistent production work

• Scale designs down in size by creating custom molds

Tools and Materials:

• vibrating tool

• N95 dust mask

• Cups for mixing powders

• Mixing tools: spoons, scoops

• Silicone molds

• Borax solution = 4 c distilled water with ¼ c borax shaken, settle overnight and pour off leaving sediment behind

• Rare earth magnets

• Powders

• Gram scale

• Freezer

• Kiln with kiln washed shelf

Steps:

1. Mix powder with water to create a glass slurry. Mix a little more water than necessary and pour off the excess to help rinse away very fine particles that end up settling at the very bottom of the mold and looking like devit in the finished piece. The very, very fine particles will stay on the surface of the excess water, and we can pour those off.

2. Fill molds with glass slurry, vibrating the powder slurry as you fill.

3. Freeze for 1-12 hours.

4. Remove from molds and fire on a kiln washed shelf in a kiln.

Rate

- Target Temp - Hold Time

• 190°F/hr - 190°F – 60 min

• 500°F/hr - 1100°F – 20 min

• 350°F/hr - 1520°F – 5 min

• 105°C/hr - 85°C – 60 min

• 275°C/hr - 595°C – 20 min

• 195°C/hr - 825°C – 5 min

Tips:

Silver stain effect and staining shelves. Another thing that you’ll want to consider is that any colors that have silver in them are going to act more like a silver stain for stained glass. You can contaminate the kiln shelves and discolor any glass fired on top of the spot for several firings. You’ll want to have a specific shelf you use for silver, or line the shelf with fiber blanket and fiber paper.

Don’t use vinegar to remove kiln wash if the pieces are very porous - it can trap carbon residue if you plan on working the glass in the torch.

Traditional and Non- Traditional Imagery on Glass

By Chuchen Song

In people's lives, glass often serves as a medium connecting the internal and external environment, so that people living in the interior can visually feel the natural changes of light and shadow outside. The age-old tradition of painting on glass allows the light to take part in illuminating the enamel. This creates a comforting effect, allowing the viewer to reflect inward.

I use a lot of symbolism and narrative in my work. Traditional Chinese culture often uses symbolic images to suggest human status through natural plants and animals. In my work, symbolic patterns are used as a poetic way to talk about the experience of Chinese women in this cultural background. In my lecmo, I used my own work practice to show each step of this process in order to give people some new ideas about how to play with both traditional and non-traditional methods of imagery on glass.

For traditional glass painting, people often utilize a technique called grisaille, which is a French word meaning “gray tone.” You often can see this type of glass painting on stained glass windows in churches or cathedrals. You can use this painting technique both with low-fire or high-fire enamel.

LOW FIRE ENAMELING

For enamel paints that fire at 1050F-1080F/ 566 C – 582 C

In 2022, I was granted a partnership through Momentum/ Intersection with Pilkington NSG glass. For this partnership, I created an enameling project with a high tech glass called MirrorView Glass, which was completely provided by Pilkington. This type of glass only allows 70% of light to pass

through the metallic coating. I was really excited to combine the traditional grisaille enamel painting technique with this modern high-tech glass.

When illuminated from behind with the outdoor lighting, the imagery on this glass becomes apparent to the viewer. Depending on the amount of light coming through, and depending on the time of day, different portions of the imagery may become more or less visible. This MirrorView glass hides the image just like how my topic of women’s situations are everywhere around us, but are often hidden in daily life.

This is a picture of me working in progress showing how I set up my tools and workstation on this large light table. This picture also shows you the material you might need for the enamel painting process.

1. The light table is essential for the enameling process to allow the best visibility while you are working

2. For black, white and brown enamel colors, I use Reusche enamel paint (especially tracing black number 1061)

3. For other transparent low-fire colors, I purchase from Fuse Master Enamel

4. Gum arabic for water base and Lavender/ Clove oil for oil-based medium

5. Fountain pen and pen nibs are excellent for writing or very fine details with enamel.

6. Liner brushes - Liner brush #0 #2 #4 are what I use most for enamel painting process

7. Badger brush to blend the wet enamel coating during the matting process to make an even layer of gray tone

8. Hog hair brushes for the matting process so that you can

Momentum/Intersection with Pilkington NSG. Photo credit (from left): Tim Spurchise, Sarah Thomas.

Workstation for Enamel process. Photo: Tim Spurchise.

use it to create highlights and brush strokes.

9. Pony hair brushes will give you a very fine touch for matting but I only use pony hair brushes if I don’t use or use very little gum arabic.

10. Sponge brushes for applying the matting layer on glass.

When you paint enamel, you use a brush to trace the line work of your drawing on a piece of glass first and then fire it in the kiln. Usually, I use a mixture of water and gum arabic to trace the linework. For different details, you can choose either liner brush or fountain pen depending on how fine the lines need to be. For using a fountain pen, I use lavender oil/clove oil instead of gum Arabic because the oil allows for a longer working time before the enamel paint dries on the pen. After the line work is finished, I immediately fire it in the kiln to prevent the imagery from getting disrupted due to any accidents.

Firing schedule to fire the linework BEFORE doing the matting process:

Enamel (LOW fire) firing schedule: 12x12in/30x30cm

5 hours to 900 F/ 483 C hold 30-60 minutes

1. 1 minute to 1050 F -1100 F/ 566 C – 593 C hold 7-15 minutes

2. 1 minute to 900 F/ 483 C hold 1 hour

3. 5hrs to 700 /372 C

4. 5hrs to 200 /100 C

After firing, apply a very thin, even layer of black enamel paint on the glass. After the layer dries, you can use the hog hair brushes to remove the dried enamel to create highlighted sections or textures in your imagery.

This picture shows the difference between before and after the matting process.

I then use the same firing schedule for the matting as I do the linework.

High Fire Enameling

For enamel paints that fire at 1250F-1400F/ 677 C – 760 C.

At this temperature range, the glass will get soft and slightly round on the edges. You can still use the grisaille method or other painting technique the same as the low fire process, but keep in mind that the more and the longer you heat the glass, the more enamel will burn off. Always do tests before you commit to something important.

In my work, I complete a full annealing cycle first, then I go back into the kiln and set it up with fiber paper to reheat for the rolling process.

What you need for rolling or shaping:

1. 1/8in or 3-4mm thick fiber frax blanket

2. top loader kiln that have kiln shelf raised up to proper height

3. kevlar gloves and high temp proof suit and helmet

4. hotshop tweezers

Scroll Firing Schedule:

1. Night before: 6 hrs to 900 F/ 483C Hold till ready

2. 1min to 1385 F /752 C -1400 F /760 C hold 5-15mins depends on different sizes and thickness

3. 1min to 900 F /483 C hold 5hrs

4. Manual crash untill around 950 F—1000 F /510 C- 537 C

5. 5hrs to 700 F/371 C

6. 5hrs to 200 F/100 C

Screen Printing With Enamels

For high-detailed bitmap or photographic images

Pre firing sheet glass for texture smoothing:

1. 5hrs to 900F/ 483C hold 1hr

2. 1min to 1375F/ 746C hold 15mins

3. 1min to 900F/ 483C hold 2hrs

4. 4hrs to 700F/372C

5. 6hrs to 200F/ 100C

You can get very detailed imagery, and, of course, you can use all kinds of digital software like Photoshop to design your own image to play with.

Screen Printing With Powder

Powder print firing schedule (texture):

• (3-5 passes on 155 mesh screen,

• Personally like 110-175 mesh screen)

1. 3hrs to 1360 F/ 738 C hold 10mins

Before and after matting process. Photo: Chuchen Song.

2. 1min to 900 F /483 C hold 2hrs

3. 5hrs to 700 F/372 C

4. 5hrs to 200 F/100 C

During the COVID-19 pandemic, I was trying to set up a home screenprinting studio, but ran into a lot of issues without the proper professional equipment. I don’t use this process often enough to invest in higher quality equipment for myself. This led me to start looking for other ideas to play with imagery on glass.

CNC Laser Engraver

This pattern was inspired by an ancient Chinese fabric pattern. I multiplied the imagery in illustrator to have a consistent pattern design. It was a very user-friendly machine to upload any vector image to and test rapid prototyping of laser engraving imagery onto glass. The machine itself, however, is very expensive and can range $2000-$15,000 USD.

This project I combined many of these techniques shown so far. I rubbed enamel into the laser engraved surface and also used high-fire enamel to create a line drawing in the center. After one firing, I applied the matting to the center in order to get the details. When I finished all the regular glass painting process, I heated it up in the kiln again to scroll the edges.

After experimenting with laser engraving and screenprint-

ing, I found that this design is something I am interested in pursuing more. However, screenprinting and laser engraving is not accessible to everyone. The necessary machines can cost thousands of dollars which makes it unaffordable for a home studio, and not everyone has access to an institution with these types of machines.

CNC Vinyl Cutter Cricut Machine

This has led me to purchase my own CNC vinyl cutter for around $350 to achieve the same results as using a laser engraver, but with a different process. It’s very user friendly and approachable for anyone to use this type of home machine.

After transferring the vinyl onto the glass, I sandblast to remove the exposed color. In the video that I showed, I also bring the glass into further steps by manipulating the shape in the kiln process.

During the presentation, I also talked about the process of blowing my own flash glass. I choose to make my own flash glass so I have control in the color decisions and sizes. Also it is more affordable than purchasing flash glass.

Flash Glass Slumping Firing schedule:

1. 5-7 hrs to 1200F-1250F/ 648C– 677C hold 5-10 mins

2. 1 min to 920F/ 493C (annealing temp)hold 30 mins

3. 2 hrs to 775F/ 412C

4. 5 hrs to 200F/ 100C

This is where I am at right now and I am very excited to utilize these processes more in my upcoming artworks. Thanks to GAS for this opportunity for me to share my research and process with everyone who came to the 2024 Berlin GAS Conference. If you have any questions, feel free to reach out to me at chuchen.song.art@gmail.com

Laser engraving process. Photo: Chuchen Song.

Death of the frog, 2023. Photo: Sarah Thomas.

Manipulated in the kiln process, 2024. Photo: Chuchen Song.

PANELS

Members of The Glass Virus panel pose after their successful hybrid session.

Crafting Calm

Panelists Charlott Rodgers, Leona Nicholas, and Gregory Alliss

This panel discussed the topic of ‘Crafting Calm’. All the panel members are current PhD students at the University of Edinburgh. The panel talked about their individual approaches to wellbeing as glass artists and the importance of being mindful and the strategies they use to help and their own practice, stress levels and combatting daily life problems.

Charlott Rodgers is a practice-based studio artist investigating the creative applications of glass and ceramics residing in Glasgow, UK. She is currently working towards her practiceled PhD in the field of dissident glass and ceramic making methods at the University of Edinburgh, UK.

Charlott was drawn to alternative therapies at an early age and is a qualified Iyengar Yoga Teacher as well as being trained and qualified in various massage and holistic therapies.

She has found that during her PhD journey her knowledge of alternative therapies has been invaluable to navigate stressful and demanding times, especially when the work-life balance has been threatening to tip.

She incorporates her personal mindfulness practice in her own life in the form of meditation, breath work and yoga. She has found in the past that having tools available (and making use of them) for maintaining a healthy body and mind facilitates a calm outlook and can be helpful especially with mental stresses.

She got the panel audience to participate in a half hour yoga workshop that focused on easy but effective yoga asanas (exercises) that can be helpful to maintain the body and the mind, developing a calm state. Different versions and modulations of the movements and poses were given to enable participants with stiffer bodies or injuries to be able to take part. To finish the session off Charlott taught a guided mindfulness relaxation session.

The response from the audience was very positive and feedback gathered afterwards was that this field is an important one to consider especially during recent times of financial and economic struggles, which has hit the artist community hard. Having simple, yet effective tools at one’s fingertips can make a real difference in the way we feel about ourselves and how we react to external stressors and challenges.

Leona Nicholas is an interior designer with over 20 years of experience and is currently an educator at the University of Central Lancashire in the UK, while pursuing a practice-based PhD in glass at the University of Edinburgh. Her profound fascination with light and colour, and their significant impact on a space, our mood, and overall wellbeing, is the cornerstone of both her research and practical work. Leona’s exploration into how these elements can dramatically affect human experience has led her to focus on innovative approaches to combat Seasonal Affective Disorder (SAD) and disruptions in the human circadian cycle using light and glass.

During this panel, Leona delved into her research findings, shedding light on the critical role of light and colour in our daily lives. She highlighted how our modern lifestyles, which often confine us to indoor environments, contribute to various health issues such as low mood, disrupted sleep patterns, and general lethargy. Leona pointed out that our bodies are inherently synchronized with the natural cycles of the sun, which regulate our sleep/wake cycles, energy levels, and overall health. The absence of adequate natural light exposure disrupts these cycles, leading to a cascade of negative health effects.

Leona stressed that one of the simplest yet most effective ways to mitigate these issues is to spend at least 20 minutes outdoors in the morning light, even if the sky is overcast. This

Crafting Calm Panel (left to right Leona Nicholas, Charlott Rodgers and Gregory Alliss)

Large & Small Foam Glass Ellipses, 2021, Charlott Rodgers

practice helps to reset our internal clocks, thereby improving mood and enhancing overall wellbeing. The significance of morning light exposure is backed by a growing body of research which underpins the essential role of natural light in maintaining our health.

However, Leona acknowledged that in today’s fast-paced world, finding time to be outdoors during daylight hours can be challenging, particularly in the winter months when daylight is limited. To address this, she suggested several practical adjustments that individuals can make in their daily routines. For instance, moving workspaces closer to windows can maximize exposure to natural light. Additionally, using bright artificial light during the early part of the day can help mimic natural light patterns, thus aiding in maintaining a healthy circadian rhythm.

Leona also emphasized the importance of reducing screen time and avoiding overstimulation from artificial lighting in the evenings. Exposure to bright artificial lighting at night can interfere with the production of melatonin, the hormone responsible for regulating sleep. By limiting exposure to bright lighting and opting for dimmer, warmer lighting in the evening, individuals can promote better sleep quality and overall health.

By integrating these insights into our daily lives, whether through spending more time in natural light, optimizing indoor lighting, or reducing evening screen time, we can significantly enhance our mood, energy levels, and overall wellbeing.

Gregory Alliss - Artist and engineer, Gregory Alliss, specialises in kiln casting and cold working techniques using optical and recycled glass.

Clockwise from top left: C. Rodgers and participants of the yoga workshop at the GAS Conference Berlin 2024. Prototype Glass Lighting Panel, Leona Nicholas. Light wall Prototype, Leona Nicholas.

Gregory gained an MFA in Glass at the Edinburgh College of Art in 2019 and is currently researching a practice-based PhD which explores sustainability and the potential use of waste / recycled glass in the artistic studio. He has since expanded his investigation to explore the production of glass art made from non-traditional contaminated waste glass not normally used by glass artists. The testing again focuses on upstanding how to use the material and what the aesthetic possibilities of each type of new glass. The motivation for his current research is to provide additional source materials to assist glass artists in developing sustainable practices.

During Gregory’s portion of the panel, he explored what a practice-based PhD is. There are four approaches to practice-related art-based research: Practice as Research, Practice and Research, Practice-led Research and Practicebased Research. Gregory's PhD research project is Practicebased because the “significance and context” of the creative process, the “practice and the outcomes of that practice”, is the basis of the contribution to knowledge in the form of physical outcomes such as “exhibitions” (Candy 2006). This means that the PhD has an experimental making component. However, there is also the writing component associated with traditional PhDs including a fifty-thousand-word thesis.

Gregory has experienced several pit-falls and physiological effects while completing his PhD. The nature of a specialised research topic makes this PhD a very solitary experience. Although the PhD is practice based, the level of writing involved came as a surprise: this is not limited to the thesis, there is a lot of additional reporting. Access to studio facilities has been a problem and combined with the amount of writing these has constrained the creative process. The open-ended nature and self-guided nature of the research process has also been a source of anxiety, ‘When will it end?’. As with many

personal projects a PhD is a form of self-inflicted stress. These simple techniques to keep calm and carry on making. 1) Stop, take a moment to step away from your work. 2) Breathe deeply. 3) Get an external perspective, having someone else talk about what they’re doing can reduce stress. 4) Have Other Stuff Going On, another way of not focusing on the stressful task. 5) Recognise It is a Marathon Not a Sprint. Particularly with a PhD you can’t complete it constantly at full speed. 6) Drink Tea and Eat Biscuits!

Conclusion - The panel discussion concluded with a questionand-answer session. The feedback and questions resonated with the individual experiences shared by the panel members. It was noted that the strategies discussed are not just applicable to those attempting PhDs, they are applicable to anyone trying to balance multiple demands and combatting daily life problems.

Downburst & Micro-Burst, CRT & Clear Casting Glass Kiln-Cast, 2022, G Alliss - Photo Credit Shannon Tofts

L. Nicholas, C. Rodgers and G. Alliss at the panel discussion at the GAS conference Berlin, 2024

Creating training and networking opportunities to support emerging glass makers

Panelists Zuzana Kubelková, Nathalie Flückiger, Selina Amelie Weber, and Sarah Höchstetter

The Background

The landscape of glassmaking in Europe has changed significantly in recent decades. Historically, glass factories and manufacturers were the main employers of glassmakers. However, the decline of these traditional glassworks since the late 20th century, such as the closures of Bärnbach Glassworks in Austria (2005), Holmegaard Glassworks in Denmark (2008) and Poschinger Glasmanufaktur in Germany (2021), has redefined career paths for glassmakers.

Conversely, the rise of the Studio Glass Movement since the 1960s has created new opportunities but also unique challenges for contemporary glass artists. The panel discussion, chaired by Sarah Höchstetter and featuring Zuzana Kubelková (CZ), Nathalie Flückiger (AT), and Selina Amelie Weber (DE), provided valuable insights into the evolution of glassmaking careers in Europe, the challenges they face, and ideas for overcoming them.

The Panellists

Zuzana Kubelková was trained as a glass artist in North Bohemia. She studied at the High School of Applied Arts for Glassmaking in Železný Brod and graduated from the Master's program at the Glass Studio of the J.E. Purkyně University in Ústí nad Labem. Her work is characterized by an experimental approach, often using recycled materials and incorporating materials such as basalt and fiberglass. Zuzana has received recognition in international competitions, including the second and third prizes at the Stanislav Libenský Award and the Achilles Stiftung Prize at Coburg Glass Prize 2022. Despite her accolades, Zuzana highlights the limited opportunities to generate income solely from gallery sales and prize money, which led her to expand her business approach to include functional artistic objects in interior design. This diversification reflects the necessity for glass artists to adapt their practices to ensure financial sustainability.

Nathalie Flückiger is a Swiss flameworker and glassblower based in Vienna, Austria. After completing her training as a scientific glassblower at the Glasfachschule Zwiesel, she continued to develop her knowledge and skills in glassblowing, casting and flameworking at various studios and educational institutions throughout Europe, including Novotny

Glass in Novy Bor (CZ), Comploj in Vienna (AT), and Hut František in Sazava (CZ). Currently she creates glass jewelry and interior design objects, and teaches flameworking classes in her own studio in Vienna. Her journey underlines the importance of networking and gaining diverse experience in different studios. Nathalie has managed to build a successful business model, but it has taken considerable effort and resilience, demonstrating that success in the field of glassmaking is often hard-won and requires continuous dedication.

Selina Amelie Weber trained as a product designer for glass at the Glasfachschule Zwiesel and later studied ceramics and glass design at Burg Giebichenstein University of Art and Design in Halle. After working as a lighting designer in Hamburg, she earned her Master's degree in Fine Art Glass from Koblenz University of Applied Sciences. Selina’s current role as a practical glass designer at the LWL-Industriemuseum Glashütte Gernheim highlights the employment opportunities within museums and cultural institutions. However, she notes the trade-offs between creative freedom and job security in such roles. As a lighting designer, for instance, much of her work was computer-based, with little direct interaction with the material, illustrating the compromises often required in salaried positions in the glass industry.

Sarah Höchstetter studied comparative cultural studies in Regensburg and has been managing director of Bild-Werk Frauenau eV since 2018. Alongside the board of directors, she organizes the annual International Summer Academy for Glass and Art and coordinates the association’s various activities and projects that deal in particular with cross-border cooperation between artists and cultural workers as well as the preservation and further development of the European glass heritage. From 2018 to 2022 she coordinated the successful implementation of the EU funded project “Glass Works. Training. Networking. Taking Roots”, the content and results of which formed the starting point for the panel discussion.

Challenges and Solutions

The panelists' experiences highlight several common challenges faced by contemporary glassmakers:

1. Economic Sustainability: Many glass artists struggle to make a living from their artistic work alone. Diversifying

their product range and venturing into related fields, such as interior design and jewellery making, or working in education or tourism can provide additional sources of income.

2. Marketing and Business Skills: Traditional glass education often lacks training in marketing, business management, and branding, which are crucial for artists who need to promote and sell their work independently. Programs such as the "Glass Works" start-up training play a vital role in filling this gap by providing specialized courses and practical experience in these areas.

3. Networking and Collaboration: Building a strong network of fellow artists and industry professionals is essential for career development. Internships, residencies, and collaborative projects can provide valuable opportunities for learning and professional growth. The panelists' diverse experiences across various European studios and institutions underline the importance of a broad base of connections in the glass community.

4. Access to Resources: Having access to well-equipped workshops and materials is essential for glass artists to experiment and develop their craft. Initiatives that provide access to such resources, together with financial support to alleviate economic pressures, can significantly improve the career prospects of emerging glassmakers.

The Role of the “Glass Works” Start-up Training

The "Glass Works" project, developed by Bild-Werk Frauenau in cooperation with partners in Denmark and Austria, is an example of an effective approach to these challenges. The six-month start-up training program supported 29 graduates and young professionals from Germany, Denmark, and the Czech Republic, providing them with practical tutoring, specialized marketing and business courses, internships, and networking opportunities.

The program's holistic approach, combining hands-on practice with business education and collaborative experiences, reflects the multifaceted demands of a successful career in glassmaking. The panel discussion emphasized that traditional education alone is not enough; innovative programs such as "Glass Works" are essential in equipping glassmakers with the diverse skill set required to navigate the complexities of the modern marketplace.

Conclusion

The evolution of the glassmaking industry in Europe presents both challenges and opportunities for contemporary glass artists. In place of traditional glass factories, the studio glass movement now offers a wide field of endeavour for glassmak-

ers, offering creative freedom but also requiring a broader range of skills and strategies for commercial sustainability. The panelists' experiences underscore the importance of diversification, networking, and continuous learning in building successful careers.

Programs like "Glass Works" demonstrate the potential for innovative educational approaches to support emerging glass artists. By providing access to resources, practical experience, and specialized training in business and marketing, such initiatives can help artists navigate the evolving market and build sustainable careers.

In summary, the future of glassmaking in Europe depends on the ability of artists to adapt to changing economic conditions, leverage diverse skills, and engage in collaborative practices. The insights from the panel discussion highlight the need for continued innovation and support within the glass community to ensure the thriving of this unique and versatile art form.

Fostering Creativity and Learning: Exploring the Impact of Nonaccredited Education in the Creative Glass Community

Panelists Chloe Monks, Jo Andersson, Joshua Kerley, and Michael Endo

Introduction

The panel talk "Fostering Creativity and Learning: Exploring the Impact of Nonaccredited Education (NAE) in the Creative Glass Community" was an insightful dialogue about the role and significance of NAE pathways in the creative glass industry. The panel was chaired by Chloe Monks, Education Programme Coordinator for the Glass School, an online platform offering various educational resources for glass students. The other panellists were Jo Andersson, a Swedish glassblower specialising in glassblowing and neon art as therapeutic mediums; Joshua Kerley, a senior lecturer in glass at the University for the Creative Arts and a frequent instructor at independent and private studios; and Michael Endo, current Creative Director at Pilchuck Glass School and co-founder of High Desert Observatory. The education landscape, especially in glassmaking, has been evolving significantly in recent years. The traditional formal education pathways are being complemented and, in some cases, challenged by non-accredited educational opportunities - learning experiences that do not lead to formal qualifications or degrees but offer significant learning experiences. This article presents summarised findings of the group discussion and seeks to provide reflection points for future conversations.

The Accessibility and Flexibility of Nonaccredited Education

NAE often provides a more flexible and accessible route for individuals seeking technical glass education. Joshua discussed the importance of accessibility and flexibility in NAE. He noted that many aspiring glass artists may not fit into the traditional education system for various reasons, such as financial limitations, time constraints, or differing learning preferences. Chloe highlighted how the Glass School's online platform bridges gaps for students who may not have the resources or ability to attend accredited institutions. This model democratises education, making it accessible to a broader audience regardless of geographical or financial constraints.

Joshua noted that many students entering master's programs in glassmaking come from diverse academic backgrounds. They often gain foundational skills through non-accredited courses preparing them for higher education (HE). Michael emphasised that NAE often allows for a more individual-

ised learning experience, catering to each student's specific needs and goals –constructing their own bespoke curriculum. Similarly, HE students can extend their curriculum through NAE resources. The Glass School regularly sees this, and Pilchuck fosters it through its Partner Scholarship program.

Jo shared her perspective on using glass art as a healing modality. Her deeply personal and therapeutic approach emphasises the emotional and psychological benefits of engaging with glass art outside a formal educational structure. Andersson's work underscores the importance of creating inclusive learning environments where the focus extends beyond technical skills to personal well-being and emotional expression.

Community and Collaboration

The panellists unanimously agreed on the significant role of community and collaboration in NAE settings. Jo highlighted the supportive nature of the glass art community, where individuals are often more willing to share knowledge and techniques. This open exchange of ideas and experiences enhances learning and helps build strong, supportive networks.

Joshua pointed out that NAE programs often emphasise collaborative projects and peer learning, which are crucial for artistic growth. By working together, students can challenge each other, explore new ideas, and push the boundaries of their creativity. Kerley noted that this collaborative spirit is sometimes less pronounced in accredited institutions, where competition and individual achievement are more emphasised.

Michael shared anecdotes from Pilchuck Glass School, which offers immersive, short-term workshops that attract diverse participants, from beginners to seasoned professionals. These workshops provide an intense, focused environment that promotes rapid learning and experimentation. Endo stressed that the nonaccredited nature of these programs fosters a sense of community and collaboration, as students are united by a shared passion rather than academic credentials. Pilchuck's collaborative environment has led to numerous innovative projects and lifelong friendships. He emphasised that the school's nonaccredited status allows for a more experimental and less rigid approach to teaching and learning, which can lead to unexpected and exciting artistic breakthroughs.

Challenges and Opportunities

While the benefits of NAE are evident, the panel also acknowledged its challenges and limitations. Chloe mentioned the potential issues with recognising and validating skills acquired through nontraditional means. Without formal accreditation, it can be more challenging for artists to prove their expertise and gain professional opportunities. Instead, learners rely upon NAE providers to maintain a reputation for high-quality course provision, which develops community recognition and establishes a peer-review process in the way that academic research or apprenticeships do.

Platforms like YouTube and Instagram have further democratised learning. This has likely broadened the reach of glass education and provided more informal learning opportunities. However, the lack of regulation within NAE allows for the teaching of incorrect or even unsafe practices. The commitment from education providers, like the Glass School, to paying fair rates for teaching, aiming to generate further work opportunities for artists, reflects a support system for educators.

Jo discussed the financial challenges, noting that nonaccredited programs often lack the funding and resources available to accredited institutions. This can limit the availability of high-quality materials and equipment essential for learning and practising glass art. However, she also pointed out that these challenges often inspire creativity and resourcefulness among students and educators. Jo has recently crowdfunded hot glass equipment to widen community access.

Joshua talked about the importance of balancing structure and freedom in NAE. While flexibility is a crucial advantage, it can also lead to some students lacking direction and focus. Kerley suggested that providing structure and guidance while allowing personal exploration is vital for effective learning. This is where more established institutions might be able to formulate more structured learning – the new two-year programme, ‘The Glassmaking Institute’ from the Corning Museum of Glass, is a prime example of this. Individual educators who offer small-scale private tuition would struggle to create an educational system unless it was highly personalised to individual students.

Michael highlighted the opportunity for nonaccredited programs to adapt quickly to new trends and technologies in the glass art world. Without the bureaucratic constraints of accredited institutions, these programs can swiftly incorporate new techniques, materials, and ideas into their curriculum, keeping the education relevant and cutting-edge. However, Michael emphasised the one universally lacking aspect of NAE, compared to HE, which is criticality. HE programmes

benefit from extended duration and contact time, allowing for ongoing critical reflection between educators and students. A survey conducted by Glass School ahead of the panel indicated that 99% of students taking GS courses were doing so to learn new skills. While skill development is the priority for most learners, the development of critical reflection should not be overlooked, and therefore, NAE providers need to reconsider how they can facilitate this.

Conclusion

This panel discussion shed light on the unique advantages and challenges of nontraditional educational pathways in the arts, emphasising the importance of accessibility, flexibility, community, and collaboration.

In the creative glass community, NAE provides a valuable alternative to traditional academic routes, offering personalised, innovative, and inclusive learning experiences. While there are challenges to overcome, the opportunities for growth, experimentation, and community building make NAE a vital component of the glass community. The discussion underscored the need for continued support and recognition of these educational pathways, ensuring they can thrive and contribute to glass art's vibrant and evolving landscape. Nonaccredited courses provide the flexibility and focus needed to master specific skills, while higher education offers a structured environment for critical thinking and comprehensive artistic development. NAE provides a support network for both individual educators and a scaffolding for the currently suffering HE glass courses, and therefore, a more significant effort should be made to develop connections between the two systems to develop a more holistic educational system for both educators and learners.

On the Hybrid Panel and workshop by The Glass Virus

Panelists Caroline Madden, Jesse Magee, Gayle Matthias, Jason Mcanuff, Anna Mlasowksy and Jens Pfeifer

The Glass Virus was founded in 2013 to stimulate the discussion about the future of education in the field of glass art and strive for new interpretation(s) of glass media and contexts in art and design through seminars, symposia, and think tanks. Peer conversation is the primary tool for communication and exchange of information. Conversations are sometimes fuelled by keynote lectures, moving from the bigger plenary into smaller (breakout) groups and back. There is no audience, everyone is part of the conversations, interactions, and reflections.

While operating mainly in Europe, the GAS conference in Berlin was an opportunity for The Glass Virus to reach out to a wider community. For the occasion of the conference, combined discussion and workshops were introduced, in which the panel elaborated on ideas of the Hybrid Mode from different angles of educational and artistic practices.

The Hybrid Mode is used as an expression for the multiple conditions that educators and practitioners find themselves operating in, whether in numerous functions and positions or with different kinds of identities. The Hybrid Mode is a conscious act of working with different expectations as well as different purposes. Not alien to the artist’s practice, The Glass Virus sees a growing relevance in acknowledging hybrid practices as an asset to the individual working conditions of artists and educators.

The panellists and workshop moderators were Caroline Madden, Jesse Magee, Gayle Matthias, Jason Mcanuff, Anna Mlasowksy and Jens Pfeifer.

The audience split into three groups and became co-researchers to explore and emerge generative discourse around:

1. Alternative Practices as Tools for Education and Learning

2. Images of Education

3. The Impact of Generative AI (GenAI) Tools on Creative Education and Practice

Workshop group 1: Alternative Practices as Tools for Education and Learning

For the Glass Virus workshop at the 2024 GAS conference, Anna Mlasowsky led a discussion group that focused on

hybridity to adapt our brain to alternative models of thinking and experiencing the world to find new ways of meeting our material. How we engage with glass is often defined by traditions, normative positions, and power structures. Historically these structures have excluded many experiences and Mlasowsky employs queer and anarchist approaches in her making and teaching as tools for reevaluating normative behaviours towards materiality and community/culture.

In 2023, during a previous Glass Virus seminar held on the Hybrid at the Gerrit Rietveld Academy, Mlasowsky introduced Sara Ahmed's book “Queer Phenomenology” to the group; explaining Ahmed's concepts of how spaces are gendered and orientated towards specific experiences in which objects function as orientation devices. In Berlin we put into practise queer phenomenology through a short embodiment exercise. Structured around simple prompts to “seek out something that ...your hand wants to hold…something that feels honest… something yellow…something that moves grief through your body…or something that smells good…+++” we became familiar with each other, the artefacts, and the space around us.

The shared experience and heightened awareness set the stage for conversations around ‘perception of realities’, ‘concepts of truth’, and how to find oneself reflected through one’s material. We discussed what possible forms our practice needs to/could take to change how we relate to the material, to the world, and therefore what forms our art and teaching will take/could become.

The conversation was open-ended and was not geared to reaching any conclusions, but rather a space for sharing different approaches and a reading list for future reading on anarchism in academia, failure as a generative force and queer phenomenology was provided to the group.

Workshop group 2: Images of Education

In the group led by Jesse Magee participants were asked to reconsider the images and language we use when talking about and structuring education.

It is generally agreed that the “top down” educational model is dated and not ideal. A “bottom up” model however adheres to the same oversimplified up/down dichotomy and is equally inadequate. Neither model sufficiently illustrates the way

education works. Finding new, more nuanced images of education can help us structure how education can work and was the goal of this workshop.

First, the group was given a short introduction to conceptual metaphor theory and embodied cognition to understand how the metaphors and images we use influence both our thoughts and actions. The participants were then presented with an alternative image of education (one of exploring a labyrinth) and asked to discuss if this proposal fit to their experiences or how it could be improved upon. Building on this, the participants were given paper and asked to draw their own image of education incorporating the conceptual metaphors they find more fitting. When the drawings were complete the group sat down together to present and explain their images and ideas.

The group participated in the exercise enthusiastically and generated a diverse set of informative images. Group coordinator Magee was present to moderate the discussion, but little moderation was needed. The discussion developed organically with participants presenting their ideas and responding to the proposals of others. Through the dialogue parallels and conjunctions between the different models emerged, sometimes leading to images being combined to create even more nuanced models.

This new hybrid method of reflecting on and evaluating educational structures was unknown to the participants but they eagerly and effectively adopted it to their personal experiences.

Workshop group 3: The Impact of Generative AI (GenAI) Tools on Creative Education and Practice

In this group, comprising educators, curators and creative practitioners, the group discussed 'The Impact of Generative AI Tools on Creative Education and Practice'. The session was facilitated by Gayle Matthias, Caroline Madden and Jason Mcanuff (a recent MA graduate who actively engages genera-

tive AI tooling as part of his creative and academic practices). Activities included two fielding questions, a practical exercise, a presentation, and structural flexibility for emergent discourse from participants.

The two questions, ‘What are your experiences of AI?’ and ‘What are your aspirations for this session?’, resulted in a range of different perspectives on AI including: ethics; sustainability; creative practice and pedagogical potentials and threats.

The practical exercise introduced to the group was an analogue simulation of AI generation. Participants were paired. Participant one selected a photograph of a chair and conveyed an accurate verbal representation of the chair employing multiple “styling prompts” like the chair's distinctive details; “negative prompts,” like what is not featured in the chair and useful prompts like orientation. Participant two was tasked with drawing the chair using their interpretations of participant one's prompts. The exercise facilitated discourse around how text is converted into digital symbolic information and the space for interpretational errors and creative potential.

Mcanuff presented the rapid evolution of Midjourney through his own creative practice. He discussed the concept of 'playing the seed lottery,' explaining how the variability in initial seed values can significantly impact the final image. Additionally, Mcanuff discussed AI aesthetics and stylistic biases inherent in AI models.

Expanded, discourses explored concepts of AI digital storage sustainability; AI audience experiences in relationship to museum collections and exhibitions; and closed AI systems like Elicit, used in the Education sector being problematic in areas of protecting intellectual property, and ensuring accuracy and safety of integrated data.

Hybrid Mode – group 2. Participants of the workshop Images in Education Photographer: jens pfeifer, May 16 2024.

Hybrid Mode – Images of Education. Drawings made in the workshop Images of Education. Photographer: jens pfeifer, May 16 2024.

Conclusion

In conclusion, The Glass Virus workshops have effectively created a vibrant and interactive platform dedicated to advancing discussions about the future of glass art and education. By employing a structured yet flexible format that included a panel talk and workshops, participants were able to engage deeply with contemporary hybrid methodologies. The panellists and moderators emphasised the importance of challenging traditional and normative approaches within glass art and education. They highlighted the value of incorporating diverse perspectives through hybrid thinking models, which are essential for redefining material engagement and community interactions.

The hybrid is not an abstract but an authentic asset of many artists' practices. The presenters introduced examples of different hybrid methodologies and how to implement them in daily practices. As there was space for interaction within the groups, many participants also shared their own personal experiences or methods. For some, the hybrid practice was a new term, but they found to have often established hybrid forms of making without acknowledging them as such.

Overall, The Glass Virus continues to pave the way for a more inclusive and dynamic future in glass art and education. By encouraging open-ended discussions and hands-on experiences, it fosters a collaborative environment where innovative ideas and diverse voices can thrive.

Top: Hybrid Mode – your hands want to hold. (the hands of) Suzanne Peck in the workshop Alternative Practices as Tools for Education and Learning. Hands catching sunlight. Photographer: Eve Boontje, May 16 2024. Bottom: Hybrid Mode – plenary. Fatma Çiftçi, Caroline Madden, Anna Mlasowsky, Jason Mcanuff, Gayle Matthias in the plenary discussion. Photographer: Eve Boontje, May 16, 2024.

Endangered Status - the current situation for Stained Glass in the UK

Panelists Dr Jasmine Allen, Dr Jessamy Kelly, Sarah Rothwell, and Sax Shawr

On May 17th, as part of the 2024 Glass Art Society Conference, we came together to highlight and discuss the current situation for Stained Glass in the UK. In 2023, traditional stained glass window-making was added to the Red List of Endangered Crafts by the UK Heritage Crafts Association (Fig. 1).[i] This decree stated that the production of traditional stained glass work on all scales is threatened in the UK, specifically the design and making of traditional stained glass windows for large-scale architectural contexts. First published in 2017, the Heritage Crafts Red List of Endangered Crafts was the first report of its kind to rank traditional crafts according to the likelihood of whether they would survive for the next generation. An assessment based on intangible cultural heritage safeguarding principles showed there were insufficient craftspeople in the UK to pass craft skills resulting in a serious concern about their ongoing viability[ii] and is seen as a wake-up call for those in the UK Craft sector to come together and set a new positive trajectory for heritage crafts.

The rationale behind why traditional stained glass was placed on this endangered list, is in part due to the loss of skills, lack of apprenticeship opportunities, and the demise of the educational setting within the UK which has seen the sustained closure of many glass courses. This trend is coupled with the fact that our secular society is no longer commissioning large-scale traditional decorative stained-glass windows due to preconceived ecclesiastical associations, preventing a new generation from experiencing and becoming inspired by this centuries-old craft that is part of our shared cultural and urban landscape and material heritage. Furthermore, stained glass has been systematically designed out of modern-day architecture, potentially due to earlier debated conversations that have repeatedly told us that ‘lead is dead’. This threat now appears to be compounded, with lead being added to the European Chemicals Agency’s list of substances subject to authorisation, a ruling which will see a significant impact on stained glass, its current use, and future restoration.

The situation provoked the British Society of Master Glass Painters and the UK Heritage Crafts Association to call a day symposium at the start of 2024 to discuss the challenges, to shine a light on the problem, and galvanise others to help create a renaissance in the use of stained glass and to provide a future for apprentices coming into the craft.[iii]

However, the UK Heritage Crafts Association does admit that this declaration on traditional stained glass does not cover the wider contemporary sector, nor consider the increased interest by contemporary visual artists in the craft and its allegorical tradition, who are moving the site of encounter away from places of religious devotion into art arenas (Fig 2 & 3.). Nor does it recognise the technological advancements that have made large-scale architectural coloured glass a viable opportunity for some studios. As such, we opened up the discussion by contextualising the British historic and contemporary stained glass sector and to draw some critical light on the current UK situation, and what the future looks like for this beautiful craft in the UK.

Firstly, we clarified that though the situation is concerning, this is not the first time that the UK stained glass sector has been compromised. As an architectural art form largely popularised by the Catholic church within medieval Europe, and dependent upon high-quality glass materials (often supplied from abroad), stained glass has been subject to religious and political upheaval as well as changes in architectural fashion and taste over the last millennium. Over the course of history, stained glass has come under threat from loss and destruction previously, and the profession has been in danger before.

Two major events serve to highlight this. Firstly, the 16th century Protestant Reformation: the Dissolution of the

Sax Shaw, Dr Jessamy Kelly, Dr Jasmine Allen and Sarah Rothwell at GAS Berlin 2024. Image © Jacque Pavlosky.

monasteries during the reigns of Henry VIII (1509-47) and the Royal Injunctions passed by his successor the young Edward VI (1547-53) saw the destruction of numerous stained glass windows along with altars and statues of religious figures. Subsequently, demand for stained glass from the Church dwindled, and many stained glass artists retrained or diverted their skills. In the 17th century, stained glass was threatened by religious and political changes once again. Windows which had survived the ravages of the Reformation were further damaged – both through deliberate acts of iconoclasm fuelled by Puritan ideology as well as through ignorant damage by bored Parliamentarian troops who had little regard for ecclesiastical heritage during the English Civil War. New windows were few and far between in this period. Although the art survived and the craft was sustained, in part by demand for secular stained glass, especially of a heraldic nature. The reduction in quantity and quality of coloured glass available also saw the development of new techniques, including new stains and vitrified enamels, which kept the art of glass painting alive.

We were reminded that after a decline usually comes a revival, and the renewed popularity of stained glass and the 19th and early 20th centuries when glassmaking and stained glassmaking was an incredibly lucrative business served to highlight this. However, we are currently in different times, and opportunities need to be made to strengthen the whole ecosystem around the production and consumption of stained glass, to foster the right environment for a fruitful return of stained glass to our architectural environment.

As discussed, stained glass education is at risk and has suffered significantly over the last few decades, with many course closures at both the Further Education and Higher Education level across the UK. This is a real threat. However, the panel addressed that there are avenues and opportunities for contemporary stained glass in the UK. With some excellent pockets of outreach, amazing community and schools’ projects running out of many UK glass studios, workshops and institutions actively planting the seed of glass making. However, it was agreed that this needs to be taken up and nurtured by the entire glass community, to ensure we actively pass on our glass skills and knowledge as widely as possible. Events like the GAS conference make this possible with people collaborating and working together through diverse demonstrations and discussions of glass both verbally and non-verbally.

A debate around the acquisition of practical craft skills was key, with agreement that the passing down of embodied skills in glassmaking was crucial to the future of stained glass. The panel was able to call for a concerted drive and effort, to join forces (both nationally and internationally) to support this

mission and to foster skills acquisition beyond mere entry level – so that stained glassmakers and artists can progress to advanced skill levels in the discipline. It was agreed that this can be very difficult to do in the short period of time that the educational landscape affords. The costs of education are high, especially with the limited time that a student is afforded. It was agreed that glassmaking involves a lifelong learning approach and commitment should extend from the first entry point right from school-age students to emerging graduates and beyond to mid and established career makers where we see the full mastering of skillsets which are embodied in so many wonderful works of stained glass. There are opportunities for higher education with courses like the Design Crafts BA course at the University of Wales Trinity St David in Swansea. In 2023, they also launched the Stained Glass Craftsperson Apprenticeship Programme[iv]. There will also be a new MA in Craft at Edinburgh College of Art which will launch in 2025 and will include glassmaking.

The panel also addressed the disconnect by contemporary society that can be said to be due to continuing Modernist

Top: Sirens + Stilettos by Sax Shaw, Hidden Doors Festival, Old Royal High School, 2022. Image © Chris Scott. Bottom: Pinkie Maclure: Lost Congregation Performance, Centre for Contemporary Art, Glasgow, 2023. Image © Alan Dimmick.

attitudes in architecture that call for clean lines and muted palettes. With sites of encounter for stained glass now shifting away from seats of devotion or public buildings to art arenas, contemporary artists are overturning the perception of stained glass as a dying craft to consider the wider implications and audience of this unique medium. The driving force and conceptual framework behind new artworks are both welcomed and needed as they update and refresh the stained glass scene in the UK. Many agreed that what is needed now is to look again at the terminology used to discuss stained glass and the associated link to lead, to place value on coloured compositions, and alternative approaches such as glass fusing and painting, and celebrate the possibilities that new technologies such as water jet cutting bring to the field, to allow stained glass to be a viable possibility for future architectural commissions.

Societal recognition of the cultural value of stained glass in today’s context is low, resulting in low monetary value. For some time now, the maintenance and conservation cost of most stained glass in the UK is higher than the market value of those same windows. Increasingly, custodians of stained glass within our historic environment do not view stained glass as a positive contribution to a building’s future. This is compounded by UK Planning Regulations dictating the preservation of building fabric, yet failing to offer provision for preservation of traditional crafts that maintain these buildings. Windows of low historic value that require restoration present a real potential to create opportunities for the installation of contemporary stained glass, that incorporate traditional processes, as an alternative to insisting on preservation. To reconnect the industry with contemporary culture and to increase its cultural value within society, collaboration between stained glass practitioners and thriving contemporary industries such as fashion (e.g., LVMH), Bioengineering (e.g. Neri Oxman and Mediated Matters Group at MIT) or the energy sector (e.g. Sarah Hall’s solar panel integrated stained glass or Marjam Van Auble’s pigmented photovoltaics) will be important.

To gain the attention of these potential collaborators, studioscale innovation must be embraced by practitioners. Everincreasing accessibility to advanced design and fabrication technologies such as Computer Numerically Controlled (CNC) milling, plasma, laser, and water jet cutting enables any material to be cost-effectively shaped with highly complex geometries. These technologies offer the potential

for studio-scale innovation where individuals can experiment at a relatively low cost, enabling new processes and aesthetics to be discovered by individual practitioners. The realworld application of advanced fabrication technologies within stained glass offers contemporary practitioners the potential to efficiently fabricate intricate frameworks for glass in high-grade materials or use the same processes to generate formwork for casting or slumping sheet glass. These processes have the potential to result in new stained glass processes and aesthetics which have every opportunity to aid the revival of crafts in contemporary culture.

Within the architectural heritage sector there is huge scope to explore the use of 3-D scanning technologies to map lead lines digitally and then use that data to generate a framework in alternative materials, such as phosphor bronze or stainless steel that exactly replicate the original lead work, which could then be painted to match the lead colour. This has the potential to create a framework that’s non-toxic, long lasting, and easily restorable as the digital framework file can be easily stored for future generations. Whilst the specific craft of leading glass may not progress long into the future, the aesthetic and the glass within our historic stained glass can be saved by embracing contemporary technologies.

A thriving contemporary stained glass scene requires context - as the profile of contemporary stained glass increases the desire to understand its heritage will also increase; this is where museums and galleries could play a leading role in promoting the narrative of historic and contemporary stained glass together. This could gradually bridge the gap between contemporary culture and heritage in stained glass. With a re-established contemporary stained glass scene, contextualised by the UK's rich heritage in the craft, the cultural value attributed to the medium will increase, which will promote investment in the industry and increase the engagement of new practitioners. The UK stained glass industry is full of potential thanks to increasing accessibility of advanced design and fabrication technologies and can establish an upwards trajectory by entering the contemporary art arena and by actively seeking collaboration wherever it can be sought. To conclude, this short article summarises the outcomes of the panel discussions and hopes to provide a platform for future conversations on stained glass.

[i] See https://heritagecrafts.org.uk/historic-stained-glass-window-making/ [last accessed 23.05.24]

[ii] See http://heritagecrafts.org.uk/redlist/categories-of-risk/ [last accessed 23.05.24]

[iii] ‘The Future of Traditional Stained Glass Symposium’, co-hosted by Heritage Crafts and the British Society of Stained Glass Painters, brought together carefully selected key stakeholders to discuss the challenges facing traditional stained glass making in the UK and what can be done to save the craft for the future. Art Workers Guild, London, 2 February 2024.

[iv] https://www.uwtsd.ac.uk/news/uwtsd-launches-new-apprenticeship-stained-glass-save-endangered-craft [last accessed 26.05.24]

DEMONSTRATIONS

Victoria Ahmadizadeh Melendez during her neon demonstration in Wilhelm Hallen.

Popular taste is rubbish

By Ned Cantrell

I thought I would take this opportunity to write a little about my creative process.

My work is lowbrow as opposed to highbrow. I am inspired by low-cultural tendencies- consumerism, kitsch, cartoons, trash… Combined with some rather painstaking glassblowing technique, this creates a field of tension between high culture and low culture, in which I work. The noble traditions of blown glass meet the banality of pop culture.

I have recently been through a serious creative slump brought about by a life crisis. My creativity was gone. I just didn’t know what to make, or why? I expect we have all had similar experiences. So I have been ruminating about how the creative mind works and how I personally develop creative ideas. My personal creative slump was cured by a residency at Centre du Verre Contemporain, Biot, France. I am extremely privileged and grateful to have had that opportunity to play with glass away from external expectations and to have accessed my creativity again.

My process for blowing glass is based on play. I find that in situations where I play, my mind is open to receiving creative input. Play is investigating your imagination, accessing your subconscious.It is vital for me to make time for play in the hot shop. I have to let go of other people’s expectations of me and business pressures, and make work which comes from the heart. If I start to think about what customers want or expect from me, it is certain death to creativity. Never play to the gallery.

This can be very difficult. It takes confidence to trust that an idea can emerge. It also takes time and time is expensive. But it is so important for my creativity to invest that time. Even though it can feel like it is wasted. I make some embarrassingly bad work when I play, which no one will ever see. But, all of the ideas which I have been most satisfied with have come from messing around with friends in the hotshop, in a combination of play and hard graft. Making work for my own pleasure and being in the moment of creation usually gives me good

Inflatable Shark, Ned Cantrell, 2024.

results. To force playfulness, one of the most uncomfortable exercises I know is to not turn on the annealer. When you cannot keep what you make, you loosen up tremendously.

It is often only in retrospect that I am able to analyze why I think that a piece is interesting. Then I begin to refine the ideas and process. I draw a lot, and the finished pieces I make have to be carefully planned by mixing and matching relevant techniques to realize my ideas. There are no shortcuts to becoming a skilled glassblower. It takes a lot of dedicated hard work.

Despite the tomfoolery, I would like for my work to be taken seriously. So that people don’t just think I am pulling their plonker, I try to use techniques which are recognizably skillful. Or work on a scale or level of perfection which is challenging. I also find it important to be able to explain the context of my work for it to be understood as I intend it to be. A smoke screen of pseudo intellectualism and glassblowing bravado.

Kelly O’Dell once made a throwaway comment which has stuck with me, that the tools we have on our bench define what we make. If we all have the same tools, we all make the same marks. We can make an individual statement by inventing our own tools. A good way to play creatively is to use new tools and techniques and explore the marks and forms they can make. Often I will see connections and a way to use the tools in my work.

Another technique I have found useful is Obstruction. I first heard of it from a choreographer, but have since found out that it is quite widespread. It is a way of creating chaos in the process which demands creative solutions, thus pushing the work forward.

Practically, you create obstructions, it could be a set of rules, a dogma, or a collaborator could interfere with your piece midway… Once you have established the obstruction you are forced to think differently. This can lead to serendipitous results and spark new ideas.

For my demo at the GAS conference, I made an inflatable shark pool toy. With such an esteemed audience, I chose to stay well within my comfort zone. The shark is one of a series of inflatable animals I have been making recently. As well as being playful and cute, pool toys are unnecessary, massproduced, plastic products of over-consumption. The shark- a fierce predator is reduced to a toy. Impotent and Disneyfied, it has lost its bite.

Inflatable Shark is free blown and hot-sculpted using a variety of techniques. Most of the color-work is made using Swedish

overlay and engraving (graal technique). The piece is made from multiple parts which are assembled hot.

I am a fan of kitsch and using glass to imitate other materials, taking from other cultures etc. Visually this piece looks very light, but it is physically heavy. It is cold and hard to the touch. It has the appearance of being cheap and factory made whereas in reality it is very exclusive. It is not buoyant and no longer has any function.

This series was born during a playful session at Pilchuck. Raven Skyriver had one of his whales out on display. I took it off the stand and replaced it with “Humpy” the inflatable Orca from the lake. This resulted in a collaboration recreating Humpy in glass with Raven, Daryl Smith, and Jason Christian. It was a good example of how play, silliness and collaboration with friends led to creativity. Consequently, I took the ball and ran with it while refining techniques and exploring different models until they have become a bit of a trademark for me.

From Blown Away to GAS Berlin: Jonathan Capps’ Glacier Demonstration

By Amanda Sterling

This article is part of Jonathan Capps’ prize package for winning the first episode of Blown Away season 4.

Glass enthusiasts poured into the Berlin Glas hot shop, even roosting in the windowsills, on the muggy morning that marked the last day of the Berlin 2024 Conference. All eyes were on Jonathan Capps and team as they created and assembled a glacier piece that Capps first made on Blown Away.

During this demonstration, it’s clear that Capps is in his element; from his years of teaching glassblowing to his experience making glass in front of the camera for an unseen audience of millions, he’s at ease directing his team while two hundred GAS attendees watch. Performance has long been a consideration in Capps’ work. Part of the work he did for his MFA at The Ohio State University involved introduc-

ing dancers to the pace and rhythm of the hot shop as they prepared to perform in partnership with larger-than-life bubbles that Jonathan blew.

The demonstration began with the creation of colorless cane made with Kugler batch. A gather of glass was shaped up into a blocky shape at the bench before it was handed off to an assistant who carefully steps up a ladder. Another assistant pulled the glass towards the floor, with the help of tools and gravity, before lengths of flat cane were cut and gently laid on a wooden ladder on the floor. This process was repeated until there are roughly a dozen pieces of foot-long, colorless cane waiting to be used in a larger sculpture.

The team then directed their focus to making color overlays with gorgeous Reichenbach blues, whites, and grays before

Capps reviewed the game plan for his demo with the team. Photo: Mary Barfield.

following the same process to become long, flat cane. Reichenbach generously supplied the color for our hot demonstrations and Capps was part of the enviable group of GAS members who traveled to the factory the day before the conference began. This tour marked the first time in Reichenbach’s history that its doors were open to the public, and attendees were able to experience each step of Reichenbach’s processes to make their glass colors. Jonathan was also one of the lucky attendees who had the chance to try hand-rolling color bars for themselves. One might expect a large factory to use machines to roll out bars, but years of practice have made it possible for their gaffers to be eerily exact in rolling out the perfect thickness and length of color bar, a task our attendees found more difficult than they expected.

Once all the flat canes were produced, the team then pivoted to building the sculpture. A layer of cane was arranged on a pastorelli and heated until it was rolled onto a large collar. Capps originally produced this abstract glacier form on episode 7 of Blown Away season 4 where the remaining contestants were challenged to make a piece that reflected one of the artist’s passions. On the show as Jonathan drew his glacier concept,

he said, “I want to see a glacier, I want my kids to see a glacier, these behemoth things that drive our climate before they’re all gone.” This concern for the environment is certainly shaped by Capps’ family history; his father was a geologist who taught him about all the geological changes that happened before us and to consider what we will leave behind for future generations. The abstract design of the glass glacier reflects another one of Capps’ passions: the connection between Scandinavian and American glassmaking traditions.

All glassblowers who work at the furnace are taught the importance of timing, temperature, and teamwork and Jonathan’s demo was a true tour de force showing the endless creative possibilities of glass when those three components come together perfectly. The assembly of this sculpture is especially challenging: the team repeats the process of heating a layer of cane and rolling it onto the existing sculpture a couple of times, a process that only becomes more complicated as the sculpture increases in length. The canes have to be heated perfectly so the delicate connections between each of them are fused together and so the framework of canes can be easily rolled onto the sculpture.

After successfully executing three cane rollups onto the sculpture, the crowd cheers as the piece is safely placed into the annealer and the team congratulate each other on a hard job well done. Reflecting on his experiences as a Blown Away contestant and a GAS conference presenter, Capps said, “I’m grateful for both of these international platforms to share my work.”

Capps and an assistant shaped the piece. Photo: Mary Barfield.

The glacier as it neared completion. Photo: Mary Barfield.

Engraving-White Unicorn

By MgA. JAROSLAV ŠÁRA

Czechia, formerly Bohemia, inherited and preserves 5000 years of glass craft in its purest and fundamental form; the best engravers are still based here and so are the schools where engravers can learn theory and practice from professionals..

With global social and economic, as well as aesthetic, transformations, highly skilled craftsmen became an underrepresented community and the craft has gradually vanished as have massive knowledge resources. The craftsmen themselves do not often have sufficient theoretical, practical, and commercial capacities to assert themselves on the market, and they do not have time to respond flexibly to changes and demand, adapt to current requirements, and cannot further effectively support their business. There is no effective connection between demand of the market, craftsmen, curators, and businessmen and no stimulus for contemporary expressions.

Glass engraving is a demanding craft. There are only a few craftsmen able to use it in its most noble form. It requires complex and specific professional education, special tools and conditions, and a meticulous attention to detail. Through targeted promotion, presentations, meetings, teaching, learning and seeking for new connections and networks, there shall be a way to preserve and revive the lovely craft worthy of UNESCO protection.

The aim of the promotion and presentations is to enable a wide range of professional and lay groups to become familiar with the character and possibilities of the craft, to learn about its history, meaning, scope, and application possibilities in the new century. Teaching aims to arouse the interest of a new generation of potential artisans and artists, thus ensuring the preservation and continuity of production. Learning and looking for inspiration in other fields is the basis for adaptation and the search for new connections should bring new expressions in the field of adjustment, presentation, use, appreciation, and admiration, and thus, set in motion a spiral of sustainable self-financing and meaningful, healthy development.

Glass engraving and carving, which is a member of the cold work techniques family, can also be seen as an economically much more achievable field, where no large entry fees or operational investments for equipment and operations are needed. Thanks to its undemanding equipment, space, material and energy consumption, it paradoxically becomes economically much more profitable than demanding hot operations. Therefore, it has the potential to deal with global environmental and economic challenges much more elegantly.

And finally, glass engraving is very environmentally friendly because it produces quality that will last for centuries.

The Lathe Riders

By Lothar Böttcher

The Lathe Riders brought cold work into the limelight at this year’s Glass Art Society conference in Berlin. For the first time in history, cold work got centre stage as the opening demo at a GAS conference.

Cold working — grinding, cutting and polishing glass — is often overlooked, relegated as a process to “finish” works. We came to Berlin to change this perception and show an international audience how much more is possible. Months of Zoom meetings and planning congealed and we were ready to show and share our passion for grinding glass.

The Lathe Riders are a collective of like-minded cold workers. We come from all over the world — Europe, USA, and even South Africa. Fourteen of us made it to Berlin, to set up the best little cold shop in town. We arrived on the Sunday preceding the conference, unloading machines, wheels, and equipment. It’s no small feat to have a fully functional cold shop materialise out of thin air. During the months preceding the conference we sourced equipment from our own studios, university departments, and basements. Samuel Weisenborn (Germany) let us use his barn to store and prepare two Spatzier lathes (for stone wheels) and one Furtuna diamond lathe. Petr Slavík (Czech Republic) loaded two flatbed machines to show how one can efficiently do flat surface grinding and polishing. Ioana Stelea (Romania) built a foot-pedal driven engraving lathe, and brought a portable engraving lathe from the National University of Arts in Bucharest.

Showtime

Getting everything ready seemed insurmountable, but not for the Lathe Riders. Every team member pulled up their sleeves and got to work. We launched a fundraising campaign to cover the costs for transporting equipment and other conference expenses. A huge thank you goes out to all our supporters who donated funds to our cause and thank you to the Burger Foundation for generously sponsoring our project.

New member, Peter Wiechenthaler (Austria), organised the printing of our T-shirts with the iconic Lathe Riders design by Samuel Weisenborn. We also took silkscreens to Berlin and couldn’t keep up with printing conference attendees’ own shirts. Our merchandising was an instant hit and all the sales gratefully went towards covering expenses. Thank you to everyone who bought our special memorabilia.

Everyone in our team took initiative and helped make our pilgrimage to the GAS conference a reality:

Henriikka Pöllänen (Finland) and Julian Michel (Germany) coordinated our opening demo and presentation; Jenny Mulligan (Ireland/Sweden) helped with admin and communications (and did an exceptional job to remind us of all the deadlines!); Pawel Palewicz (Poland) brought wheels, glass and rocked the house with his amazing performance; Patrick Roth (Austria) managed the finances and secured additional funding from sponsors; and Lothar Böttcher (South Africa) coordinated and managed communications between the team and GAS from Pretoria…

New members, Selma Hamstra (Netherlands) and Noa Agassi (Netherlands), set up our social media strategy and fundraising campaign; Vicki Higgenson (UK) launched our website — latheriders.com.

Every Lathe Rider played their part, allowing us to emerge from our cold shop caves, to Rock the glass art world!

Crystal Mess - Lathe Riders Collaborative Piece for GAS2024.

Top: Lathe Riders Group Photo. L-R: Tobby Ritzkowski (Germany), Julian Michel (Germany), Pawel Palewicz (Poland), Noa Agassi (Netherlands), Patrick Roth (Austria), Vicky Higginson (United Kingdom), Jenny Mulligan (Ireland/ Sweden), Henriikka Pöllänen (Finland), Selma Hamstra (Netherlands), Samuel Weisenborn (Germany), Ioana Stelea (Romania), Lothar Böttcher (South Africa), Petr Slavík (Czech Republic.) Left: Henriikka Pöllänen (Finland.)

Willem Hallen, Berlin

After all the heavy lifting, setting up machines, connecting water and electricity, the best little cold shop in Berlin was ready to roll! Wednesday evening erupted in a cacophony of grinding and cutting with wheels sinking into chunks of glass. While Patrick Roth, Pawel Palewicz, Petr Slavík and Lothar Böttcher got gritty on the machines, hundreds of conference attendees milled through the cold shop, taking pictures and gawking at the action.

Everyone was watching in bewilderment at the show unfolding and T-shirts were flying off the shelves. The Lathe Riders made a lasting impression, revealing our love and passion for cold work. Lots of new and old friends visited us during the following days. Questions were asked and long conversations sparked. Many people were intrigued by the stone wheels we were using. We shared tips and tricks, explained processes and maintenance, offered hands-on demos, keeping the momentum going. We are looking forward to sharing our expertise and love for cold working, and hope to meet up soon again.

Exhibition: Cold Perspectives

Cold Perspectives, the exhibition curated by Ioana Stelea and Henriikka Pöllänen at the Fantom Galerie, showed work by several Lathe Riders and was part of the official GAS conference lineup.

This was a fine opportunity to witness diverse approaches to art making, focusing on cold working techniques. Works ranged from cut and polished vessels, large lenses, pinhole photography to interactive sculptures where guests were invited to smash large blocks of suspended glass blocks into another as an uncontrolled cold working process.

Cold Perspectives was on view from 14-18 May at the Fantom Galerie, Berlin.

Thank you GAS!

It was an honour and special opportunity to present the Lathe Riders at the Glass Art Society conference. As mentioned above, this was the first time for cold workers to feature as headliners for the opening demo. We are confident that a lasting impression was made, and that cold work will start to be understood as its own branch of creative glass making. We are looking forward to future collaborations with GAS and the global glass family at large. The future looks sparkling and we

hope to continue to channel our energy and love for cold work to new generations of gritty grinders.

Keep those wheels turning! Rock ’n Roll…!

Contact the Lathe Riders: Website: https://latheriders.com/ Instagram: @the_latheriders

Clockwise, from top left: Ioana Stelea (Romania.) Lathe Riders Cold Shop at GAS - 2x Spatzier Lathes for Stone Wheels, 2x Silicon-carbide Flatbeds, 1x Fortuna Diamond Lathe. Samuel Weisenborn

Rroaring Glass

By JanHein van Stiphout

One of the opening events of the Berlin GAS Conference was my performance “Rroaring Glass.” My curiosity about the sound that is sometimes generated while heating small tubes on a torch led to the development of this performance piece.

“Rroaring Glass” is an installation of 6 large glass tubes standing erect in a circle, each about 2 meters tall. I applied heat to one of the tubes using a large torch. Within a few seconds after removing the torch, the tube started to roar on its own and continued a deep, vibrational roar for several minutes. I applied the heat to one after another of the tubes and they, too, started to roar. Over the course of the performance, all 6 tubes roared simultaneously, causing interesting oscillating tones that could be felt viscerally. The rroaring [sic] became music composed by the glass itself.

I was very pleased to be able to perform “Rroaring Glass” twice on the opening evening and many glass lovers were able to experience and enjoy this unexpected property of glass. Unfortunately, the fire brigade wouldn’t allow a third performance despite an enthusiastic audience in the wings.

WORKSHOPS

A participant in Healy Arts’ AI and engraving workshop traces their design.

What, Why, How: Glass Virus Workshop

By Anna Mlasowsky

What, Why, How – was not a lecture, lecmo or demo, but intended as a new format at GAS. Having attended the conference throughout the years I had noticed how important the casual meetings outside the scheduled events were to exchange ideas, discuss questions and meet likeminded artists. Often though the time and space were not sufficient to have personal or extended conversations.

At GAS it becomes evident how rich the community is in knowledge and skills. In Berlin I sat with a friend and looked across the Berlin Glas yard and out of the blue they said "It's just incredible how much talent is here in one place”. What I had often been missing was an open community platform in which non-pre-scheduled questions and topics could be asked and discussed. For years I had been wanting to have a space in which we can ask each other practical, critical, and personal questions. I wanted to create a space that felt safe to ask the community anything.

This year I was able to, for the first time, facilitate such a space. About 40+ participants joined the conversation from many different countries and with different professional interests: business owners, students, freelance artists, educators; some specializing in one glass technique while others bridging many.

What, Why, How- was a platform for collective dialogue & resource sharing, for all of us that have burning questions we dared to ask. I acted as the facilitator of the conversation, but I did not provide the content. Each participant was able to bring a topic to the table and everyone in the group became the resource with practical suggestions or personal insights.

Central to all the different questions we considered was the question: What power do we hold as artists? We considered both the power we have (to influence institutional standards, pay, and contracting) and what power/responsibility we have to create spaces and initiatives that shape the glass community to be what we want to see.

Anna Mlasowsky (center) and “What, Why, How Think Tank- a collective platform for dialogue & resource sharing” workshop participants in conversation at GAS 2024 Berlin Glas, Germany. Photo by Ricardo Vaz.

Too often do artists discover the basics of running an art practice by chance, or through hard learned lessons. Sharing what we have learned over the years helps all of us be better business owners, more climate conscious, set standards for our labor, and consider how our choices affect minorities, parents, and emerging artists in the field.

During the two hours we had, we discussed a variety of topics, which are hard to summarize here. The collective sense of generosity and ease with which the conversation flowed from one topic to the next is not possible to grasp in the format of this article. I don’t know how we began with marveling over an artist book to ending the allotted time with discussing how glass has helped us overcome personal struggles.

Karen Lisa Krabbe from Denmark introduced us to a new book she has written in Danish, which has also been translated to English. The book is an educational book of her “gelled glass” technique for which she works with algae to make knittable and spreadable glass pastes. Karen was seeking advice on how to market the book and to gauge interest within the community for this book. Collectively we pooled ideas on how to publish and distribute the book and reaffirmed her in this pursuit.

We ended up talking about seeing needs in our community and then how we can fill the holes. I don’t remember how it happened, but someone asked “Why do we value some techniques over others?” This question was the start of a conversation about whether the support structures we have are unbalanced. Does glassblowing get more attention? Has Blown Away helped and who has it helped? We spoke about the Lathe Riders as an exemplary group that has come together in a non-competitive format to shine a light on how cool grinding is and to support each other by creating opportunities for each other. We spoke about Crafting the Future and GEEX (Glass Education Exchange) as spaces that fill holes in our community. We ended in a conversation about how do you find your

peers, which led to a conversation about social media. It was interesting to see how different the experiences and affinities were towards the platforms. Some considered them necessary business evils, some career starters, ways to stay connected with the international glass community, time thieves, creative resources, and marketing platforms. Several younger artists expressed how these platforms had helped them not to fall into a post-graduation hole as they were able to continue to feel part of the field and find ways to stay creative. Collectively a lot of anxiety regarding the performance pressure on these platforms was expressed and some felt that using social media was heightening their feeling of not being enough. We ended in a conversation about if and how glass had helped some through hardship. Intimate stories of mental health issues, personal struggles and difficult times were shared. A small group of individuals, who are investigating this subject as educators working with special needs students, spoke about being grant recipients leading a research platform whose goal is to quantify the emotional benefits of glass. Through this platform, they were able to connect with a sociologist that studies glass from that perspective.

The community forum was a starting point for many connections and opened our eyes to different needs and experiences. We left feeling elated and enriched by being surrounded by so much generosity, insight and warmth. Somewhere in the middle of all of it, we shared a lot of resources around trade unions, craft councils, legal support for artists, furnace support groups, educational resources, non-profit glass spaces, and books written within our community. All these resources were shared with the group in a Google document after the conference. By sharing contact details via this Google document participants were given the chance to stay connected and establish new connections. I hope that in the future this format can continue to exist at GAS and that it will continue to evolve. My hope is that other artists will create their own versions of this platform and act as community glue.

Anna Mlasowsky (center) and “What, Why, How Think Tank- a collective platform for dialogue & resource sharing” workshop participants in conversation at GAS 2024 Berlin Glas, Germany.

AI Design Experimentation & Diamond Point Glass Engraving

By Healy Arts

The Scottish educational arts charity- Healy Arts (SC051273) was established to advance education by providing opportunities for the public and artists based in Scotland and internationally to learn and/or develop new skills in heritage crafts and specialist art skills, many of which are on the Heritage Crafts Red List of Endangered Crafts in the UK.

We focus on all forms of glassmaking and try to keep the knowledge alive of our heritage skills, such as mouth-blown flat glassmaking, which is now sadly listed on the Red List as an extinct craft in the UK. Also in the ‘critically endangered’ category is scientific & optical instrument making.

Furthermore, we work with assorted methods of glass engraving and glass cutting and that is what we presented at GAS Berlin for our workshop. We are experimenting with technol-

ogies such as AI to explore new ways of working with heritage crafts and finding ways to keep these ancient ways of making relevant within contemporary society.

For our workshop at the GAS Conference, Healy Arts had a small team of volunteers to help participants with AI and engraving: Siobhan Healy, Natalia Komorwska, Goshka Blakek, and Marta Rippetoe. Our team assisted participants to use a simple, free online Artificial Intelligence (AI) design programme (Craiyon) with the traditional craft of diamondpoint engraving on glass.

The intention behind using this method of design was to explore AI in a very accessible way. The intention was to inspire the participant’s hand-engraved work. It was also possible for participants to have their designs printed as stickers with our

Healy ARTS Workshop in Berlin. All photo copyright Healy Arts.

instant Polaroid printers and use that as a template. Participants were able to take that home as a keepsake, the same as the little engraved glass creations they made. Some enterprising participants didn’t use the Polaroid printers at all and just traced their designs straight from their mobile phone screen!

We engraved onto our small pieces of flat glass using the heritage skill of diamond-point engraving. We encouraged participants to try using the tool in the traditional way first, which traditionally would have been slowly scratching the surface of the glass by using cross-hatching technique or other methods of marking the glass in this very slow painstaking way. Then the participants turned on their rotary tools to max power and the participants could work very quickly and easily with these USB-rechargeable engraving pens.

The workshop also offered an opportunity to experience and discuss the development of AI and the questions and worries that are associated with this ever-developing technology. Should we be scared of AI? Or is it another tool that we can utilize for creativity? My personal opinion is that it is interesting to explore different ways of combining digital and heritage techniques and it is fun to experiment.

One of the practical benefits of using the tiny hand engraving tools and tiny portable Polaroid printers was that it was easy to transport our equipment in small hold luggage. We provided this very same workshop as part of the Venice Glass Week 2023 and again it was straightforward to work in this way. Working on a micro level has continued to be a theme in our working methodologies.

I think I can write on behalf of the whole Healy Arts Charity team, and state that we all had a marvellous time at Glass Art Society Berlin, meeting new friends from all over the world and enjoying the company of old friends too.

Footnotes: https://www.heritagecrafts.org.uk/categories-of-risk/

Workshop participants learning AI and diamond point glass engraving.

CONFERENCE PROGRAM

Arthur van Buuren greeting Berlin 2024 conference attendees as part of Work Exchange.

CONFERENCE PROGRAM

WEDNESDAY, MAY 15

Event: First Timers Meetup

Event: Kick Off Opening Remarks

Event: Lathe Riders Kickoff Demo

Event: Exhibition Opening

Performance: JanHein van Stiphout, Rroaring Glass

THURSDAY, MAY 16

Hot Demo: Ned Cantrell, Inflatable animal

Neon Demo: Victoria Ahmadizadeh Melendez, Luminous links

Lecture: Silvia Levenson, I feel a bit nervous

Lecmo: Nate Ricciuto, Practical Magic: Now You See It...

Lecmo: Marta Gibiete, Design or Art?

Creating of 3D sculptures in glass fusing technique

Panel: Glass Virus

Lecture: Barbara Schmidt, glass –hand formed matter; Perspectives of Manual Glass Making in Europe

Interactive Programming: Education and Institutions | Workshops with Glass Virus and Presentations by International Education Programs

Workshop: Healy Arts, Diamond point engraving with AI design

Event: Research Presentations

Event: Student Meet Up

Hot Demo: Claudia Virginia Vitari + Peter Kuchinke, Silkscreening and Roll-up demo

Lecmo: Brenda Page, The Image Within

Flame Demo: Simone Crestani, Something Old for Something New: Translating Renaissance Venetian Technique Into Borosilicate Glass

Lecture: Phillip Bandura, Is Glass

Quees? Or is it Just Me?

Cold Demo: Ioana Stelea and Anne Wenzel, Dialogue of Wheels: Contemporary Glass Engraving

Lecture: Alexandra Muresan, Translucent Narratives: A Journey through Romanian Glass Art

Panel: Chloe Monks, Michael Endo, Joshua Kerley, Jo Andersson, Fostering Creativity and Learning: Exploring the Impact of Non Accredited Education in the Creative Glass Community

Hot Demo: Jahday Ford, Alchemy: Evolution of Glass

Lecmo: Saman Kalantari, From Papier-Mâché to Pâte de Verre

Lecture: Ryan Kuhns, CAD and Glass Integration

Event: Trunk Show

Event: Film Festival Opening

FRIDAY, MAY 17

Hot Demo: Jack Gramann, Line’s Main, Line Work, Flipping Ribbons, Glass Personified

Panel: Sarah Rothwell, Jessamy Kelly, Sax Shaw, Jasmine Allen, Endangered Status: Stained Glass in the UK

Lecture: Meghan Bunnell, Wholesale 101

Cold Demo: Jára Šára, Engraving the White Unicorn

Lecmo: Brian Gillespie, Digital Workflows for Reusable Hot Shop Molds

Flame Demo: Tatyana Boyarinova, Glass Snowdrops

Event: Film Festival

Interactive Programming: Career and Small Business Development | Featured Presenters Anne Kenealy and Anna Mlasowsky

Hot Demo: Simone Fezer, Re-Generate

Lecmo: Helen Stokes, Digital Design and Glass Art

Lecmo: Adeye Jean Baptiste, Intergalactic, intergenerational, bead weaving

Panel: Sarah Höchstetter, Nathalie Flückiger, Selina Weber, Zuzana

Conference attendees tried their hand at working with recycled glass at our Green Pavillion.

CONFERENCE PROGRAM

Kubelková, Creating Training and Networking Opportunities to Support Emerging Glass Makers

Lecture: Alison Lowry, Addressing the Past Through a Glass Lens

Flame Demo: Ivan Bestari, Sculptural Recycled Glass Flameworking

Event: Goblet Grab + Tasting

Hot Demo: Mert Ungor, Mediterranean Gems: Heritage Meets Contemporary Glass Design

Lecmo: Chuchen Song, Traditional and non-traditional methods of imagery on glass

Lecture: Christopher McElroy, Patternwork of the American Glass Pipe Movement

Lecmo: Aaron Peters, Is it a Window or Not? Unconventional and Contemporary Ways of Using Stained and Flat Glass in Design and Art

Event: Flame Off

Performance: Suzanne Peck, Honeymouth

Performance: Emilia Marcjasz, Bonfire

SATURDAY MAY 18

Hot Demo: Karen Nyholm, Growing Hand

Flame + Hot Demo: Ondrej Novotny and Tatyana Boyarinova, No Barriers

Lecture: Fatma Cifti, Reviving Iridescent Magic: A Contemporary Approach to a Centuries-Old Craft from Mesopotamia to the Present

Panel: Charlott Rodgers, Leona Nicholas, Gregory Alliss, Crafting Calm - Discussion and Strategies on How to Keep Sane as a Glass Artist

Panel: Priscilla Kar Yee Lo, Sadhbh Mowlds, Abegael Uffelman, Saxe Emerging Artists

Event: Film Festival

Interactive Programming: Self Care and Wellness | Featured Presenter Hannah Guisewhite

Hot Demo: Blown Away Season 4: Jonathan Capps

Lecmo: Carrie Strope, Freeze Casting with Borosilicate Glass

Cold Demo: Lathe Riders

Lecture: John Erwin Dillard, Why Glassblowing is Irrelevant

Flame Demo: Zach Puchowitz, The Punished Head 14mm bowl

Lecture: Daniel Kvesic, How We Built the Heaviest Glass Sculpture in the World (probably)

HOT + Flame Demo: Beccy Feather, Sarah Gilbert, Kit Paulson, Brent Rogers, American Cheese

Lecmo: Ricardo Hoineff, Laziness, Mother of Creativity? How I Had to Create New Ways of Working in Order to Adapt to my Creative Space

Event: Closing Night Party

EXHIBITIONS

Glaskünstlervereinigung NRW Exhibition

Sunday, 28 April to Sunday, 26 May | Museumsdorf Baruther GlashütteHüttenweg 20, 15837 Baruth/Mark

Glaskünstlervereinigung NRW (German Glass Art Society) as a guest in “Museumsdorf Baruther Glashütte” consisting of 21 artists from the northwestern German state showed its works in the historical environment of the museum village. The enormous variety of artistic languages and techniques presents an overview of the current state of German glass art.

Engraving and Cutting Exhibition

Wednesday, 15 May to Saturday, 18 May | Fantom Hektorstraße 9 – 10, Berlin 10711

Ioana Stelea, in conjunction with the Lathe Riders and Glass Engraving Network, hosted an exhibition where they displayed cold worked pieces arranged in an installation, projecting the engraved, cut, and free-blown pieces by invited guests. In this exhibition, they focused mainly on new ways

Conference attendees experienced the power of cold working and got their shirts screenprinted with The Lathe Riders logo.

CONFERENCE PROGRAM

of engraving/cutting using recycled glass or pieces made from recycled glass using hot techniques.

Glass Exhibition

Wednesday, 15 May to Saturday, 18 May | SCHMUCKE Galerie – Werkstatt für Schmuck & Glas Goethestraße 48, 10625 Berlin

Exhibition Opening: Friday 17 May, from 18:00

There was a diverse selection of contemporary glass by seven artists on display:

Rudolph William Faulkner – jewelry/ cast glass/hot glass

Kira Frisch – jewelry/lampworked glass in combination with blackened silver

Kirsten Jäschke– jewelry/cold glass work, filigrana bead necklaces in combination with precious stones

Cornelius Reer – Objects and contemporary utility glass / hot glass

Veronika Beckh – Objects and Vase objects / hot glass (Winner of the prestigious Justus Brinckmann Prize 2023)

Petra Brenner–Lost wax casting

Gabriele Küstner–Fused glass mosaics

Heart of Glass & Bells from Hell performance

Friday, 17 May from 20:00–20:45 | Monopol

“Heart of Glass – Bells from Hell” is a collaborative, multidimensional, immersive experience about the interaction between bodies and glass instruments through sound, movement and light. This performance by Zoe Gyssler, Mariateresa Molino, Johannes Lind, and Jesse Günther was located in “The Cylinder” of the Monopol Complex, Provinzstraße 40 – 42, 13409 Berlin.

Under the Skin: From Techne to Ars Exhibition

Friday, 10 May to Friday, 24 May | KA 32 Art Space, Pappelalle 32, 10437

Berlin

This exhibition, curated by Berlin 2024 presenter Claudia Virginia Vitari, was a dialogue between international glass artists who have chosen glass as their primary medium of expression and artists residing in Berlin who come from other disciplines, and who have been invited to experiment with glass, specifically for this event.

The common thread is research, the need to look beneath the surface shaping innovative narrative devices able to provide critical points of view. The exchange of technical experiences stimulates a conversation with the goal of creating new perspectives through art.

Participating Artists: Lothar Böttcher, Silvia Levenson, Mollified Collective (Cosima Montavoci + Lorenzo Passi), Samanta Malavasi, Dario Puggioni, Jessica Rimondi, Patrick Roth, Ioana Stelea, Claudia Virginia Vitari, Samuel Weisenborn

Glass Sculptures by Marta Klonowska

lorch+seidel at Wasser Gallery | RosaLuxemburg-Str. 16 | 10178 Berlin-Mitte

Exhibition from Thursday, May 9 –Sunday, May 19, 2024

On the occasion of the 2024 Glass Art Society conference in Berlin, lorch+seidel contemporary presented an exclusive selection of glass sculptures by Marta Klonowska.

International Flameworking Exhibition

Wednesday, 15 May–Saturday, 18 May, 11:00 until studio closes | Berlin Flameworking Studio, Provinstraße 42a (mezzanine)

Attendees stepped into the mesmerizing world of flameworked artistry at the International Flameworking Pop Up Exhibition, proudly sponsored by Berlin Flameworking Studio. They discovered the fusion of creativity and craftsmanship as renowned artists from around the globe unveil their breathtaking functional and non-functional glass artworks. Admission was free, inviting visitors to immerse themselves in a symphony of colors and forms during the studio hours of Berlin Flameworking Studio. Participating artists included: Carrie Strope, 2 Stroke, Mathieu Grodet, Frederic Demoisson, Jason Hitchcock, Frizzelsglass, C Monster, and Petra Pepper.

Christian Schneider-Moll Open Studio

Wednesday, 15 May–Saturday, 18 May | Lichtbau Schneider-Moll

Lehrterstraße 57, Haus4, 10557 Berlin

Christian Schneider-Moll hosted open studio hours to show off where he works In the field of kiln casting, post processing and light investigations.

GlassConnectionBerlin e.V. + glassjam “TURBO”

Thursday, 16 May, 18:00-21:00 | GlassConnectionBerlin e.V. | Alt-Moabit 19

GlassConnectionBerlin e.V. is a young non-profit public access glassblowing studio in the heart of Berlin. Guided by the desire to revive a traditional craft, the studio strives to create a place of learning and mutual promotion. With varying backgrounds and levels of glassblowing experience –from the beginner to the experienced artist – all nuances are represented. Glassjam is a group of nine international visual artists who are exploring new possibilities within the realm

CONFERENCE PROGRAM

of art inspired by glass. The project, Glassjam, goes beyond drawing influences from various countries and cultures such as Japan, Europe, and Russia. It also brings together individuals with diverse expertise in glass production, glass art, fine art, and design. Our focus is not solely on technical proficiency and execution, but also on the glass itself, treating it as a central artistic theme with approaches that are sculptural, painterly, scientific, poetic, and conceptual. The term “Glassjam” reflects our intention to be adaptable in responding to others and to remain dynamic and connected, much like a jam session among musicians. The glassjam “TURBO” exhibition was accompanied by live glassblowing demonstrations.

Form Zimmer & Friends X Glass Jam

Thursday, 16 May–Saturday, 18 May | Monopol Gallery

Open: Thursday 12:00-18:00 Friday 12:00-18:00 Saturday 12:00-16:00

The Form Zimmer trio consisting of Viviane Stroede, Jesse Günther, and Luke Holden were joined by a selection of Berlin-based artists to showcase their processes and sculptural works to coincide with the 2024 GAS Conference at the Monopol site. In Glass Jam, nine artists from different countries present new facets of their work. In 2020, they came together as a group in the depths of the Bavarian forest. Since then, their desire for exchange, inspiration, and collective movement has remained unbroken. Glass Jam not only combines influences from Japan, Europe, and Russia, but also brings together people with different focuses such as crafts, visual arts, and design. Glass serves as the overarching medium and means of transportation.

Sculptural, painterly, scientific, with poetic and conceptual approaches, sometimes exploratory and in search, sometimes casual and spontaneous, they follow a common path, similar to a jam session of musicians.

Open Studio at Atelier Veronika Beckh

Tuesday, 14 May–Thursday, 16 May, 10:00–13:00 | Malplaquetstraße 19

Berlin-based artist Veronika Beckh hosted open studio hours.

Jason Hitchcock shows off his wares at our inaugural Jewelry Trunk Show

GAS MARKET VENDORS

Conference goers look over what Oceanside had available at the GAS Market.

The GAS Market gathers the best vendors, educational organizations, and more into one easily browsable marketplace. This event at Wilhelm Hallen was free and open to the public. Thank you to our GAS Market sponsor, TGK GmbH!

*Designates Premium Booth

*Booths 1 & 2

TGK GmbH

Helleforthstraße 18-20, 33758 Schloß Holte-Stukenbrock, Germany +49 5207 91280 www.tgk.de tgk@tgk.de @tgk.gmbh

Booth 2*

Oceanside Glass and Tile

2445 Grand Avenue Vista, CA 92081

+1 760.929.4061 www.glasstile.com/ info@glasstile.com @oceansideglasstile

Booth 3*

MAD VERRE & EQUIPEMENTS

France

1B Rue du Cul de Sac, 54890 Waville, France +33 6 70 22 23 59 www.mve-france.fr international@mve-france.fr @mad_verre_et_equipements

GAS MARKET VENDORS

Booth 4*

ADAM PYROMETRIE

510 Rue de la Liberté, 01480 Jassans Riottier France +33 0 4 74 60 92 01 www.adampyrometrie.com/ contact@adampyrometrie.com

Booth 5*

Bomma Port7 – building D Pod Dráhou 1638/7

170 00, Prague 7 – Holešovice Czech Republic www.bomma.cz info@bomma.cz @bomma_cz

Booth 6

The Glass Furnace Seniye İsmail Hanım Cad. 72/A 34829 Öğümce Beykoz Istanbul / Türkiye +90 216 433 36 93 www.glassfurnace.org info@camocagi.org @camocagi_theglassfurnace

Booth 7 & 8*

Hot Glass Color 2225 5th Avenue, Seattle, WA 98121 +1 206 448 1199 www.hotglasscolor.com sales@hotglasscolor.com @hotglasscolorandsupply

Booth 9*

Rozetta Uvegstudio Bt. 6800 Hódmezővásárhely, Kinizsi u. 26 Hungary +36 62 423 4240 www.rozettastudio.hu/ ida@rozetta.hu @jozsef1142

Booth 10*

Glasma

Långgatan 22, SE-361 31 Emmaboda Sweden +46 471 481 50 www.glasma.com/ info@glasma.com @glasma_sweden

Booth 11

Berlin Beads Gotenstraße 9, 10829 Berlin Germany +49 030 6040 4774 www.berlinbeads.de info@berlinbeads.de @berlinbeads

Booth 12

Maruko Tools 7535-2, Narusawa-mura, Minamitsuru-gun, Yamanashi 401-0320, Japan www.marukotools.com @marukotools45c

Booth 13

The Studio at the Corning Museum of Glass

1 Museum Way, Corning NY 14830 +1 607 438 5100 www.glassmaking.cmog.org studio@cmog.org @corningmuseumstudio

Booth 14

Canned Heat 2425 SE Ochoco Street, Milwaukie, OR 97222 +1 208 867 9517 www.cannedheatglass.com cheyenne@cannedheatglass.com @cannedheat1

Booth 15

Rath LLC

405 Peach Ave, Owensville, MO 65066 +1 573 437 2132 www.rath-group.com

Booth 17

The Eugeniusz Geppert Academy of Art and Design in Wroclaw Generała Romualda Traugutta 19/21, 50-416 Wrocław, Poland +48 71 343 80 31 www.asp.wroc.pl/en @asp_wroclaw

Booth 18*

Warm Glass UK

5 Havyat, Park, Wrington, Bristol BS40 5PA, United Kingdom +44 1934 863344

www.warm-glass.co.uk info@warm-glass.co.uk @warmglassuk

ACKNOWLEDGEMENTS

GAS Student Representatives Jocelyn Chan and Leia Guo draw winners for our Student Giveaway.

PARTNERS

Wilhelm Studios

Flame'Off France Nissenglas

Reichenbach Color

GAS MARKET SPONSOR

STUDENT EXHIBITION SPONSOR

MEMBER EXHIBITION SPONSOR

FLAMEWORKING SPONSOR

EVENT SPONSOR

IN-KIND PRODUCT + EQUIPMENT

Berlin Beads

Berlin Flameworking Studio

Bomma Cullet

Thomas Wendler Studios

EDUCATION PROGRAMS + CLASSES

Berlin Glas

Glass School in partnership with Warm Glass UK

Pilchuck Glass School

Pittsburgh Glass Center

Pratt Fine Arts Center

The Glass Furnace

The Studio at the Corning Museum of Glass

Tulsa Glassblowing School

UrbanGlass

EXHIBITION JURORS

CONNECTION 2024

Carolyn Herrera-Perez, curator, United States

Katherine Huskie, artist, United Kingdom

Richard Meitner, artist, The Netherlands

EVOLUTION 2024

Jens Pfeifer, artist, The Netherlands

Alyssa Rose Radtke, artist, United States

Leo Tecosky, artist, United States

TRACE 2024

Hannah Gibson, artist, United Kingdom

Riikka Latva-Somppi, artist, researcher + curator, Finland

Paul Musgrove, artist + gallery owner, Scotland

Ivan Bestari Minar Pradipta, artist + designer, Indonesia

Portfolio Reviewers

Michael Endo

Caroline Madden

Scott Chaseling

SAXE EMERGING ARTIST JURORS

Mikkel Elming, director of Glas – Museum of Glass Art, Denmark Dr. Jörg Garbrecht, director of The Alexander Tutsek-Stiftung, Germany

Luisa Restrepo, artist, Mexico

SCHOLARSHIPS

Takako Sano International Conference Scholarships | Takako Sano International Student Scholarships are generously supported by Akiko Sano and Natalia Saya Nagata in memory of Ms. Takako Sano. Scholarships are available for students and non-students living outside the conference country.

Becky Winship Flameworking Scholarship | This program is generously funded by David Winship and Lisa Bieber of Glasscraft, Inc. This scholarship is given to eligible students whose work and studies use flameworking techniques.

Eddie & Angela Bernard Scholarship | The Eddie & Angela Bernard Scholarship is intended for emerging artists and those who require financial assistance to attend the annual GAS Conference. Each scholarship is worth $500 USD and can be used to help with conference admission, travel, and lodging costs.

Iconic Yonic Scholarship | Funded by the glass collective Iconic Yonic’s sale of work from their Detroit 2023 presentation, this scholarship is intended for a female-identifying glass artist to attend the annual GAS Conference.

PAST AWARD RECIPIENTS

A full list of past award recipients, conferences, board members, and editors can be found on our website at glassart.org/about/history

GLASS ART SOCIETY DONORS

Donors who made gifts of $50 or larger between October 1, 2023 and September 30, 2024.

Abby Sunde

Alexandra Lesch

ALEXANDRA NISSEN

Alexandria Manieri

Alisa Brown

Alison Vincent

Allan Katz

Amanda Gundy

Amy Stephens

Anders Wingård

Anjali Singh

Avi Soffer

Berlin Glas, e.V.

Bruce Howard

Carlos Luis Zervigón

Carol Yorke

Case Island Glass LLC

Celia Hunt

Chad Cumin

Christian Schneider-Moll

Crista Van Slyck Matteson

Cynthia McIntyre

Dana Smith

Dana Smith

Daryl (Lion) McClean

David Smith

Deborah Carlson

Dennis Smith

Devan Cole

Diana Graber

Dorothy Saxe

Edris Weis

Elaine Sokoloff

Elif Yalcinkaya

Elizabeth Potter

Ellie & Mark Lainer

Emma Harrison CBE

Esa Lempiäinen

Fahan Sky McDonagh

fanGLASStic

Fernando Pereira

Ferran Collado

Gina Salaris

Goldray Industries Ltd.

Goldray Industries Ltd.

Graeme Dinwoodie

Grania Hickley

Hakan Kanca

Heather McElwee

Heidi Childers

Heikko Schulze Hoeing

Helen Cowart

Helen Twigge-Molecey

Helene Safire

Hemant Nerurkar

Hillary Pearlman

Hot Glass Color & Supply

Hot Glass Color & Supply

Ieva Birgele

Ingeborg Gutberlet

Ivana Jirasek

Jane Vincent

Janusz Walentynowicz

Jerry Feinberg

Jessica Jane Julius

Joe Upham

John Moran

John Reed

John Webster

Judy Muhlberg

Julie Thompson

Justin Arnold

Karol Wight

Katharine Coleman

Kevin McGehee

Kolja Frisch

Kris Specht

Lani McGregor

Laura Donefer

Lendy Middendorf

Leonard Klorfine

Leonardo Nagata

Lorraine D. Bressler

Marilue Cook

Mark Holford

Mark Locock

Maud Hallin

Michael Saroka

Minami Oya

Mobile Glassblowing Studios LLC

Patrick Morrissey

Pavla Rossini

Percy Echols

purnima patel

Rachel Craig

Robert Wiesner

Robin Levin

Robin Stanaway

Roger MacPherson

Royal Danish Academy - Crafts in Glass and Ceramics

Ruthi Wertheimer

Sally Prasch

Sandra Christine

Scot Slessor

Shane Fero

Sharon Huling

Silja Skoglund

Sneh Hazra

Spruce Pine Batch, Inc.

St. Louisville Glass

Susan Gott

Susanne Glanzner

Tabitha's Glass Emporium DOO

The Corning Museum of Glass

The Glass Furnace

Two Tone Studios

University of Washington School of Art

Valentins Elsts

Vincent Allen Flores

Vivien Hart

Warm Glass UK

Wet Dog Glass, LLC

William Weisberger

THE CONFERENCE IN PHOTOS

GAS Staff (Julie Thompson, Amanda Sterling, Jennifer Hand, Marja Huhta, KCJ Szwedzinski, and Brandi Clark) posing with Jennifer’s daughter, Willow.

Emilia Marcjasz used a torch to melt pre-made sections of borosilicate together to make a spectacular bonfire for her performance.

Sibylle Yuksek at the torch during Friday night’s Flame Off at Berlin Glas. It was a packed house for every demonstration at Berlin Glas–attendees even came in through the windows to watch!

Students from RIT featured in Suzanne Peck’s performance, “Honeymoon, Honeymouth” Say cheese!

THE CONFERENCE IN PHOTOS

Ivan Bestari Minar Pradipta demonstrated how he makes his flameworked creations out of recycled glass.

Everyone danced the night away at our Closing Night Party!

Hannah Guisewhite taught conference attendees how to take care of their bodies while making glass during our Midday Interactive Programming.

Simone Crestani translated Renaissance Venetian techniques into borosilicate during his demo.

Priscilla Kar Yee Lo presented her work as one of the Saxe Emerging Artists. Jahday Ford showcased his skills in front of an eager crowd at Berlin Glas.

2026 PROGRAM

Session 01: Upskilling

Session 02: Compatibility

Session 03: Infinite Variation

Session 04: Mixing Metaphors

Session 05: Signs

Session 06: Form

Session 07: Lost and Found

Session 08: New Directions

Applications open Sep 22. Apply before Oct 31, 2025 at pilchuck.org!

MAY 4 – SEP 14

Artworks by Nicole Berger

Center Is Back and Sizzling!

hotter ever than Pittsburgh Glass

UrbanGlass is an open-access facility where over 380 professional artists and designers create using glass. Our facility fosters community and serves as an incubator for creation and innovation.

We have 17,000 square foot state-of-the-art studios filled with natural light and the best equipment available. The facility includes a hot shop, cold shop, kiln room, flameworking shop, mold room, and flat working area.

The Best in Glass Art for Sale • Glass Blowing Demonstrations • Live Music • Artisan Food and Beverages

ARTS FEST I VAL

Bergstrom-Mahler Museum of Glass announces our fourth annual GLASS Arts Festival, August 9, 2025

Centered on the museum’s mission to provide extraordinary glass experiences to spark fun, kindle creativity, and illuminate learning for all, we will feature artists, art, and experiences on the shores of beautiful Lake Winnebago in Neenah, Wisconsin. This admission-free event will support artists and provide brand new experiences celebrating everything glass. The museum galleries will also be open and admission free as always!

Call to Glass Artists!

Artists working in glass may answer a call for entries beginning in December on ZAPPlication.org.

Cash Prizes • First Place award includes an exhibition at the museum.

bmmglass.com/glass-arts-festival