Glass Art Society
International Student Online Exhibition 2013 Juried Selection
International Student Online Exhibition Catalogue Published June 2013
Education Committee Jiyong Lee Caroline Madden Jessi Moore Shannon Piette Cassandra Straubing Patty Cokus Designers Online Exhibition - Patty Cokus Juried Selection Catalogue - Kristin Galioto
ABOUT THE EXHIBITION & CATALOGUE The 2013 International Student Online Exhibition is an all-inclusive exhibition, published on the GAS website. It is a non- juried exhibition and open to all current full-time GAS student members. The exhibition catalogue features a juried selection, including 1st, 2nd and 3rd place winners, honorable mentions and additional selected works. Awards for top entries are provided by the Glass Art Society and its supporters. All pieces are original, professionally crafted, contain glass as the main element and were designed/created between 2012-2013. FEATURED ARTISTS First Place Morgan Chivers Second Place Tom Zogas Third Place Madeline Steimle Honorable Mentions Jean Fernandes, Karlye Golub, Namdoo Kim, Meredith Lopez, Kaila Mock Selected Works Juliana Bola単os-Durman, Maryse Chartrand, Emily Craddock, Linda Diec, Rachael Erickson, Amelie Girard, Christopher Gray, Brittany Hamlin, Sheila Labatt, Nelli Lorch, Karen Mahardy, Maggie McCain, Aya Oki, Biagio Scarpello, Joe Sircoulomb, Julie Sittler, Margaret Spacapan, Jeffrey Stenbom, Timothy Stover, Rebecca Szparagowski, Erin Taylor, Sarah Vaughn, Nao Yamamoto JURORS Ann Mulrooney Marc Petrovic Ken Saunders
The optically observable are a mere sliver of the spectrum of interwoven phenomena composing our reality â€“ we did not perceive ourselves in the midst of an expanding mist until we learned to observe with radio waves. Paper-thin glass discs are suspended on a glass tube, suspended from loops of live wiring. The radio waves generated within each loop overcome glassâ€™ non-conductivity, introducing electrical stimulation inside the sealed tube, overcoming the inert tendencies of the gases trapped in the tube, emitting a faint glow through ionization. Surrounded by complete darkness, this echoes our condition: a fragile balance seen through radio waves.
MORGAN CHIVERS University of Texas at Arlington Arlington, Texas
Particulate Pulse (Inertness is a Relative Matter) 2013 13 x 33 x 13 cm Glass, xenon, neon, electricity (some assistance with neon)
These vessels are designed to house, culture, and dispense nannochloropsis micro algae. Micro algae is an organism used for biofuel production, waste water treatment, and health purposes. The form of these vessels takes inspiration from historical objects, while updating their function to a contemporary one. The application of a contemporary function to a historical vessel causes more engagement with the viewer, and relates to the modern society that they are a part of.
TOM ZOGAS Rochester Institute of Technology Rochester, New York
Personal Microalgae Production Units 2012 Largest 14 x 6 x 5 in Blown glass, water, microalgae, fluorescent light
WATCH THE VIDEO http://www.youtube.com/watch?v=f8BIlE0aSbo
In my work I explore the differences between analog and digital media, as our society takes steps to digitize most of our culture. My series of glass recordings are ephemeral in nature, although stored correctly they could last indefinitely. Not only does the casting process corrupt the data on the recordings, but each time the grooves are traced by the phonograph needle, the music wears away further. Through the reproduction of media, degradation is inherent in my work.
MADELINE STEIMLE Southern Illinois University - Carbondale Carbondale, Illinois
VIDEO - “You’re All I Want for Christmas” Vitreo-Tone Recording 2013 10 x 10 x 0.125 in Video, cast glass
AWARD DONORS The Glass Art Society offers sincere appreciation to the following companies who generously provided gifts for the 2013 GAS International Student Online Exhibition winners.
FIRST • • • •
GOTT STEAMER Glass Shaping System - $200 One year GAS Membership FREE 2014 Chicago GAS Conference pass FREE 2014 Chicago GAS Conference t-shirt
SECOND • • • •
GOTT STEAMER Glass Shaping System - $150 Carlisle Machine Works/School of Glass Art - $100 One year GAS Membership 50% off 2014 Chicago GAS Conference pass
THIRD • • • •
GOTT STEAMER Glass Shaping System - $150 Armour Products/Etchworld - $50 One year GAS Membership 25% off 2014 Chicago GAS Conference pass
*Click on logos below to visit donor websites
HONORABLE MENTION JEAN FERNANDES University of Texas at Arlington Arlington, Texas
Untitled 2012 18 x 12 x 7 in Kilnformed & hot sculpted glass
My work is about the interaction of positive and negative space. Iâ€™m intrigued by how they contrast and define one another. This piece in particular is an exploration of how a small amount of material can define a larger space so much that the space becomes more of a material than the material itself. The clear glass was created as a measurement device as well as an observation tool, where the weight of the clear is roughly equal to the weight of the black glass and the magnification allows the viewer to observe the texture of the glass matrix within the strands of black glass. (edited)
HONORABLE MENTION KARLYE GOLUB Bowling Green State University Bowling Green, Ohio
Cygnus Loop 2013 10 x 10 ft Kilnformed, blown, cold cut, fused murrini glass
My work is composed of intricate and complex kiln formed murrini patterns. I am creating nebulous forms reflecting tiny universes expanding and collapsing, thus allowing me to construct a unique composition each time.
HONORABLE MENTION NAMDOO KIM Rochester Institute of Technology Rochester, New York
Way to go! Dude! 2012 15 x 9 x 2 in Flameworked glass with mixed media
I am trying to criticize todayâ€™s society through my art works. Lacking individuality and quality of character, creating a whole society of people who are easily replaceable and hold little value, just like mass produced plastic toys.
HONORABLE MENTION MEREDITH LOPEZ Rochester Institute of Technology Rochester, New York
The Promise 2013 32 x 22 x 15 in Kilnformed, flameworked & fused glass
My ideas derive from exploration of who I am as a person, and what I value. Ideas are often a projection of aspects of my life: desires, reactions, and emotions. When I stray from personal experiences, I find myself exploring my ethical interests, delving deep into research on endangered animals and elusive creatures. Ideas are further transformed through â€œhappy accidentsâ€?. My design process is an ever-evolving development of meaning and material fueled by my love of creativity.
HONORABLE MENTION KAILA MOCK Emporia State University Emporia, Kansas
Sweet Sixteen 2013 6 x 6 x 3 ft Blown glass, school desk
The work I make often deals with highly personal and sometimes deeply distressing subject matter, I find that the act of making can be cathartic. My process is methodical, disciplined, repetitive and logical, which is my attempt to impose order on the chaos, anguish, suffering, and sorrow that frequently characterize my content. While my work derives from personal experiences, private emotions and a position of profound interiority, I try to create pieces that hover between the obvious and the ambiguous, between the private and the public, between the abject and the aesthetic. (edited)
SELECTED WORKS Other Selected Work
JULIANA BOLAĂ‘OS-DURMAN Edinburgh College of Art Edinburgh, SCOTLAND Mix&Match Series 6 out of 21 Sculptural Non-functional Vessels The primary theme within my creative process is the exploration of preciousness and play within the studio practice. Preciousness, it is not only the value or quality of the materials themselves but more so what they represent. I find myself choosing and treasuring things that have a story and a link that represent emotional connections. Therefore, it is essential for the creative process to give the artwork the same significance, disregarding where it came from or how it was constructed. I want to create raw pieces that are put together intuitively by exploring the different materials and invite the viewer to become part of the journey.
MARYSE CHARTRAND Espace Verre Montreal, QC, CANADA Memory Fragment Memory is a fragile imprint. Itâ€™s only power is to leave a trace that time toys with. To stop this rampage one has to fossilize the past. A souvenir forever stolen from the biggest thief of all. Time.
EMILY CRADDOCK Alfred University Alfred, New York Aura of the Pangolin Known as a scaly anteater, the pangolin is a burrowing mammal native to Africa and Asia that roots for termites and ants. The pangolin is considered to be an auspicious and magical creature that has become endangered due to overhunting - primarily for its scales. By taking this wonderful element of the creature, I have created an abstract form out of glass and hung it on a glass branch to highlight the brilliance and beauty of the pangolinâ€™s fragile existence.
LINDA DIEC Columbus College of Art & Design Columbus, Ohio Halo (installation) Halo illuminates the inherent flaw in manâ€™s attempt to create the perfect by glorifying the faulty or accidental. In transforming the seemingly mundane into something extraordinary, Halo creates a dialogue that questions the value of seeing beauty in the imperfect. The gallery wall is dissolved into a fabricated and premeditated architectural blemish, while a neon light (a halo) reveals and glorifies its hackneyed and artificial making.
RACHAEL ERICKSON Southern Illinois University - Carbondale Carbondale, Illinois Avatar My body of work is an investigation into the ways in which technology’s rapid progression is affecting us as human beings. It is a physical recognition we are changing, and an examination of the manifestations of those changes. Our technological advances enable us to play a role now much closer to God`s. So the question becomes-Who are we? What do we want to be? Who do we wish to become? The avatar is up to you.
AMÉLIE GIRARD Espace Verre Montreal, QC, CANADA Leaving the Garden of Eden My work is and exploration of the poetry of everyday life. I find inspiration in the most simple things – all those things around us that we barely notice anymore and which, yet, withhold great beauty. I use glass to capture and cast light on that beauty, hence giving everyday objects a sculptural dimension and pulling them away from anonymity. For beauty, to me, speaks of the very essence of the world.
CHRISTOPHER GRAY University of Wisconsin - River Falls River Falls, Wisconsin Chainsaw I have always enjoyed working with all kinds of tools. The thing I enjoy the most is the inherent danger involved when working with power tools. The same goes with blowing glass it’s hot dirty and can be dangerous, “Chainsaw” is me combining my love for blowing glass and revving it up.
BRITTANY HAMLIN College for Creative Studies Detroit, Michigan Jewel of the Sea Using microscopic organisms as inspiration, fused glass murrini, along with color and pattern convey what it might feel like to view the microbial world in fluid motion. Presented on giant glass slides, the molecular world is magnified, reflecting the multiple societies that live within our universe.
SHEILA LABATT Royal College of Art London, UNITED KINGDOM Krakatoa My work is inspired by an intensive 15-year immersion in Korean and Chinese culture, during which time I developed a passion for calligraphy and ink painting and learned to cast glass. My current project explores the idea of â€˜Glass as Inkâ€™ and seeks to imbue cast glass with a gestural and apparently spontaneous ink aesthetic, evoking Chinese traditional and contemporary ink painting and calligraphy, in the third dimension.
NELLI LORCH Bezalel Academy of Arts & Design Jerusalem, ISRAEL Burst This piece was created by blowing layers of colored glass into a hot mold and breaking it while continuously blowing. The resulting effect is of my face bursting from the inside. It refers to a common feeling of trying to contain something within oneself, and the way it might tear you up inside.
KAREN MAHARDY Rochester Institute of Technology Rochester, New York Long Rolling Wave I am interested in a consciousness of space, not in the sense of an enclosed threedimensional entity, but rather the simultaneous awareness of form and non-form deriving from an intensification of attention. In my work I explore capturing the essence and energy of a specific place or experience. I do this by focusing on the point where the work I am creating is in a state of becoming and contains action, as if movement were frozen in time. I donâ€™t think in terms of decoration, but in terms of clarity, a kind that may be achieved through omission or exclusion of the nonessential.
MAGGIE MCCAIN University of Hawaii at Manoa Honolulu, Hawaii Passenger Cloud 1 Clouds present one of the biggest obstacles for climate change prediction science today. Scientists do not yet know the explicit function of clouds and their effect on climate conditions. Maggie McCainâ€™s PhD. research involves using several climate predictions, and as long as these predictions are filled with gaps, so is her research. The passenger cloud series is inspired by the rail systems of her hometown and has grown to include many other forms of travel, including airships and submarines, and the clouds that confound her research.
AYA OKI Rochester Institute of Technology Rochester, New York Plump Cheeks I want to express all of the qualities that make glass a unique medium. Every day we see glass objects but when used in art, glass becomes impressive and full of possibilities. Glass has always responded well to my creativity. Each time I work with glass it is like having an exciting conversation with a good friend and I am passionate to share that with my audience.
BIAGIO SCARPELLO San Jose State University San Jose, California VIDEO - Convey I am a process-based interdisciplinary artist with works that are truthfully sincere, but simultaneously tongue-in-cheek. Recently Iâ€™ve been working with kinetics, glass, sound, and prefabricated objects to create works that examine psychological states including reliance, perseverance, efficiency, and futility. I use glass as a means of assigning tension and allure to installations, while re-purposed industrial hardware create a context of questionable purpose. These precarious situations are playfully suspenseful with an endearing ability to challenge preconceived notions of art, functionality, and production. WATCH THE VIDEO: http://vimeo.com/63974606
JOSEPH SIRCOULOMB Emporia State University Emporia, Kansas Two Spirit My work deals with esoteric teachings from ancient cultures and addresses topics related to gender/sexual minorities. It is my belief that modern society has forgotten many of the mystic aspects of sexuality; a topic which I find personally relevant. The piece “Two Spirit” is about the Native American belief that homosexuals have two spirits in one body. The presence of a feminine spirit, in combination with the earthly masculine, allowed the man to see into the spirit world. This piece also addresses the concept of empty thought that is found in shamanic and mystic traditions around the world.
JULIE SITTLER Vermont College of Fine Arts Montpelier, Vermont Unclear (Nuclear) How does one protect oneself from a possible nuclear attack? Do we let the government guide us by having us build unrealistic shelters using sandbags and hand-cranked fans for protection? Why government’s previous solutions seemed more like game pieces than reality. Was this a sustainable solution for civilization or just silly ideas conceived around the table? Fortunately we never needed to find out, but how can we expect a viable solution for today with a new threat looming out there?
MARGARET SPACAPAN Tulane University New Orleans, Louisiana Contained, VI My current body of work explores formal, geometric, and spatial relationships of industrial objects. I separate the objects from their use and divorce them from their intended function, translating them into glass. I find beauty when something can be separated from the reason it was made and still have impact as an object aesthetically. The objects can be cold and sterile: though, creating interactions within an environment through repetition, or changing the scale or material, allow formal elements to take precedence. Using kiln-formed glass, I explore ways to transform an object, rendering a new mass and volume, and redefining space.
JEFFREY STENBOM University of Wisconsin - River Falls River Falls, Wisconsin Harlequinâ€™s Desire I believe glass is very much like a person, filled with potential, beauty, and emotion. Glass is so strong but so weak at the same time. Everyday there is a new unknown discovery just waiting to happen. Glass pushes every emotion for me. It is a mental and physical challenge that connects my soul to creativity. The process of creating is a journey for me with endless possibilities.
TIMOTHY STOVER Kent State University Kent, Ohio Ruins The phrase “broken glass” carries with it a negative connotation. As children, we are taught that glass is fragile, and if it’s broken, it can be dangerous. Immediately, we grab the dustpan and sweep it up, yet we are so afraid of the pieces that we generally do not stop to see the shimmering iridescent beauty that occurs. The breaks undulate and refract light in ways that cannot be duplicated by hand or machine. Ruins explores the dichotomy between the imperfections of the fragments and the beauty that is achieved by restoring them.
REBECCA SZPARAGOWSKI Bowling Green State University Bowling Green, Ohio Relationships Relationships are complicated. These castings are a frozen snapshot in time only beginning to touch upon the beauty and complexity of our relationships we have with one another. While there is beauty in the weapon, there remains an inert potential for harm.
ERIN TAYLOR Southern Illinois University - Carbondale Carbondale, Illinois VIDEO - Cellam Divisio Alchemia My work is an examination of our understanding of the scientific world. Scientific discoveries have done much to improve our lives over the past five hundred years. Along with the accelerating pace of scientific discoveries comes confusion and a great disconnect with our daily reality. By exploring the origins of science I hope to make tangible connections to the complex issues of our time.
WATCH THE VIDEO: http://vimeo.com/66049411
SARAH VAUGHN Rochester Institute of Technology Rochester, New York House of Cards IX I try to make work that conveys emotional reactions to an audience while maintaining distance from the actual events that take place in life.
NAO YAMAMOTO California State University - San Bernardino San Bernardino, California Ripples I graduated from Tama Art University, department of ceramics, glass, and metal in 2011, specializing in glass art. I am currently enrolled in the Masters of Fine Arts program at California State University - San Bernardino. I make organic abstract objects that are inspired by the simple beauty of glass. Glass is the most beautiful material for me. I investigate ways to emphasize the attraction of glass.
Selected Works Image Details JULIANA BOLAÑOS-DURMAN Mix&Match Series 6 out of 21 Sculptural Non-functional Vessels 2013 Biggest: 21 x 10 x 5 cm, smallest: 2 x 7 x 5 cm Blown and found glass, engraved
SHEILA LABATT Krakatoa 2012 23 x 19 x 8 cm Cast lead crystal glass
MARGARET SPACAPAN Contained, VI 2013 Each 28 x 23 x 35 in Kilnformed glass, cast concrete
MARYSE CHARTRAND Memory Fragment 2013 13 x 40 x 28 cm Pate de verre glass & natural rock
NELLI LORCH Burst 2012 27 x 40 x 30 cm Hot mold blown glass
JEFFREY STENBOM Harlequin’s Desire 2012 20 x 8 x 3 in Cast glass
EMILY CRADDOCK Aura of the Pangolin 2013 16 x 20 x 4½ in Blown/sandblasted glass, laser-cut buttercut & UV glue
KAREN MAHARDY Long Rolling Wave 2013 7 x 10 x 32 in Kilnformed glass
TIMOTHY STOVER Ruins 2013 32 x 10 x 5 in Cast, hand polished and assembled glass
LINDA DIEC Halo (installation) 2013 Approximately 28 x 28 x 28 in Neon, building materials (assistance with production & installation)
MAGGIE MCCAIN Passenger Cloud 1 2012 9 x 6 x 4 in High fire enamel, blown glass, steel (assistance with welding & forging steel)
REBECCA SZPARAGOWSKI Relationships 2013 4½ x 17 x 17 in Cast and blown glass, nickel silver Photo by Keith Meiser
RACHAEL ERICKSON Avatar 2013 27 x 12 x 5 in Blown, laminated & sandblasted glass, enamel paint
AYA OKI Plump Cheeks 2012 30 x 40 x 8 in Blown glass, rubber, thread
ERIN TAYLOR VIDEO - Cellam Divisio Alchemia 2013 Glass, forged iron, video projection
AMÉLIE GIRARD Leaving the Garden of Eden 2013 300 x 10 x 8 cm Cast glass, dyed raffia, wool
BIAGIO SCARPELLO VIDEO - Convey 2013 40 x 75 x 18 in Industrial conveyor system & solid sculpted hot glass
SARAH VAUGHN House of Cards IX 2012 4½ x 4½ x 16 in Kiln formed glass powders
CHRISTOPHER GRAY Chainsaw 2013 18 x 6 x 5 in Blown glass, steel
JOSEPH SIRCOULOMB Two Spirit 2013 6 x 14 x 2½ in Kiln cast lead crystal, plaster/silica mold
NAO YAMAMOTO Ripples 2013 Each 32 x 17½ x 17½ cm Blown, fused and glued glass
BRITTANY HAMLIN Jewel of the Sea 2012 30 x 15 x 6 in Fused glass, silver, enamel, steel
JULIE SITTLER Unclear (Nuclear) 2013 40 x 36 x 36 in Silk-screened, kiln cast glass on machine stitched, coffee-dyed tablecloth with hand stitched detail
JUROR COMMENTS This was a very enjoyable opportunity to see some of the great work that’s being made by students and graduates internationally. I was very impressed by the standard of work submitted, particularly in the balance between technical and conceptual. It’s great to see work that’s not only really well-made, but is also investigating and exploring the potential of the medium. Ann Mulrooney
I was honored to be asked to judge this year’s student show. I immediately thought, aside from being highly critical, who was I to pass judgment on the artistic endeavors of others? If your work was not in the final selection of praise, I am sure you are still asking that question. But, I was asked to throw stones from my very own glass house, so I tried to be considerate of my aim. Glass is an incredibly challenging material, and balancing strong concept with quality execution can be an incredibly difficult task. In choosing work I tried to find pieces that I felt met this balance most successfully. I would like to extend congratulations not only to all the prize winners, but also to all those that participated, who imagined, and created. Imagining and creating (and being constructively critical) are very hard work indeed. Try to remember that whether you felt your efforts were met with success or failure, it is just the beginning. There is no resting, no plateau. You must get out there and do it again...and don’t worry about the stones.
As a juror for this year’s Online Student Exhibition I have noted several emerging tendencies that are revealed in the works of these students working in glass. First and most obvious is the adoption of techniques and creative strategies that have been embraced by contemporary artists for some time but have seemed, until very recently, to be incompatible with the practice of creating glass objects. An awareness and understanding of alternative media and the time-arts has lead to an explosion of performance, video and installation based works that reveal a depth of creative sophistication that has become de rigueur for young artists working in glass. In tandem with this development is an interest in subject matter that is often intensely personal and almost always suffused with meaning. While there is plenty of work here that celebrates breathe-taking virtuosity these makers clearly wish to create objects of expression and as such, works of art.
Ann Mulrooney Manager and Curator, National Craft Gallery Kilkenny, IRELAND
Ann Mulrooney studied in the Crawford College of Art, Cork, Ireland and the Royal College of Art, London, UK, where she graduated in 2003 with an MA in Sculpture. She exhibited widely in the UK and Ireland and her work is held in numerous public and private collections. She has received numerous awards, including the Cicilitira Prize for Sculpture (RCA, UK, 2002), the Deutsche Bank Pyramid Award for Fine Art (UK, 2003) and the Arts Council of Ireland (Irl 2006). She worked as a freelance curator in Ireland and the UK before joining the Crafts Council of Ireland in 2008 to run the critically-acclaimed National Craft Gallery, based in Kilkenny, Ireland. Through exhibition and touring programmes, the gallery explores Irish and international craft and design in the context of historical and contemporary material culture. She is an External Examiner for BA and MA ceramics, glass and metals programmes in the National College of Art and Design (Irl), and is a frequent contributor to cultural publications and programmes, including The View (RTE television, Irl), Ceramics; Art and Perception (USA) and the Irish Arts Review (Irl). http://www.nationalcraftgallery.ie/
Marc Petrovic Artist Essex, Connecticut
Marc Petrovic graduated from the Cleveland Institute of Art in 1991. He was the recipient of the top Agnes Gund Memorial scholarship. Marc works out of his private studio that he shares with his wife Kari Russell-Pool near their home in Essex, Connecticut. They have two wonderful children, Phoebe and Kay, and two above average dogs, Pixie and Roux. â€œI strive to be an artist first and a hot glass sculptor second. Although I primarily work with glass, a material most commonly viewed as a craft material, I strive to make content driven work that stresses the idea at its core rather than the seductive material it is made from. Glass is a fantastic material to create work with. Once you get past the expansive technical difficulties of working with this material, it offers the creator almost endless possibilities for form, color, and content.â€? http://www.marcpetrovic.com/
Ken Saunders Owner, Ken Saunders Gallery Chicago, IL
The Ken Saunders Gallery was inaugurated in August 2009 after twenty years as the Marx and Marx-Saunders Galleries. Ken Saunders joined the gallery in 1995 and in 2013 continues to be an enthusiastic and vigorous advocate for the Studio Glass Movement. The gallery exhibits sculptural works by the most innovative artists working with glass in the world. Located in the heart of Chicagoâ€™s River North Art District since 1995, the gallery was renovated in 2009 to ensure the best possible display of the ambitious artworks the artists create. The gallery is proud to have mounted significant exhibitions for many of the most distinguished artists from the Studio Glass Movement. A commitment to documenting every show the gallery mounts has lead to an archive of exhibition catalogues that traces the evolution of the movement. http://kensaundersgallery.com/
6512 23rd Ave NW, Ste 329 Seattle, WA 98116 T: 206.382.1305 E: email@example.com www.glassart.org
BOARD OF DIRECTORS 2012 - 2013 Jutta-Annette Page (President), Jay Macdonell (Vice President), Roger MacPherson (Treasurer), Caroline Madden (Secretary), Alex Bernstein, Chris Clarke, Lance Friedman, Geoff Isles, BJ Katz, Ed Kirshner, Peter Layton, Jiyong Lee, Cassandra Straubing, Shannon Piette (Student Rep)