Freeform. Translucent. Corded. A lighting collaboration of midwestern proportions.
Our time-honored methods allow us to fine-tune every aspect of production, but the human touch does more than make beautiful pieces. It’s what shapes our operations, culture and our commitment to sustainability across the entire supply chain.
HENNEPIN MADE IS A GLASS LIGHTING STUDIO IN MINNEAPOLIS.
A conversation with Hennepin Made founders Jackson Schwartz and Joe Limpert on blowing glass, manufacturing lighting, and the long hard road out of craft fairs.
Joe: From your recollection.. How would you describe me when we met 15 years ago?
Jackson: It’s been 15 years?
Joe: Yeah it’s been about 15 years!
Jackson: Oh man… When we met, I had come back from Australia and had experienced all these amazing glass artists from over the world. I think it was really interesting because when I started glass at UW River Falls, most of the students were very regional, very local in their experience. Then when I met you and I really saw how much potential you had. You were so eager and curious, but not really knowing what you wanted, right? I knew you just wanted to be part of something more expansive and more interesting.
How would you describe me when we met 15 years ago?
Joe: You had just finished studying with some of the most talented glass makers in the world down in Canberra.
All of a sudden there was this person I saw as a peer with a ton of knowledge that was different from anyone else that had met in that small community. We just got along right off the bat because I think you had a desire to teach and wanted to help build a community. Meanwhile I wanted to absorb every last little bit of that information. It just was just so much easier because it didn’t seem like some master/apprentice, teacher/ student thing. It was just two pretty likeminded people that were in similar stages in life, off by a few years, but open to this dynamic of give and take.
I remember we’d be at the bar, just talking about glassmaking, what art means— that kind of stuff, but one conversation in particular stands out. You were asking me about other interests and I told you I was involved with an organization that worked on freeing child soldiers in Uganda. Instantly you were just ready to jump into action. You were like “Ok, wow. Tell me everything. What can we do? Let’s have a sale. Let’s screen this documentary.” And on and on. You struck me as this dude who was so intense and so serious. That was a unique perspective, I hadn’t come across that as a 20 year old.
Jackson: You meet a lot of people in their early 20s and they’re often in a blissful, kind of blasé phase. I really gravitate towards people that have a fire, an intensity. And you started at River Falls in the ceramics program and really loved that tangibility and engaging with that material, but the
knowledge as I was willing to accept. That turned from just making objects to building bigger things years later. I think that window is still open.
Jackson: When we were first working together, I didn’t really ever have an assistant or apprentice prior. I really saw that potential in you, you were in that tiny tiny percentage of people who had a natural affinity and work ethic.
I was really inspired by the fact that I could push my skill set much harder with somebody else around who was really talented and putting in the work.
Joe: What do you remember about those early days trying to put together a studio?
Jackson: I was visiting these different cities, San Francisco, Seattle, New York and the whole time I was really evaluating what it would take to build a studio in Minneapolis. In my mind, I was always considering some kind of infrastructure for a creative practice. I think that was more of an exploration phase for me, trying to sort out what wanted in life.
Joe: We were making work out of the UW River Falls studio, using it as a really affordable production space. But then they told me I needed to get out of there, I needed to graduate. I remember saying, “Hey, there are other artists in the area with their own shops,” and I thought, “how hard could it be?” With some reluctance, you agreed to go along with this plan to build a shop.
I enrolled in an MFA program at MCAD because I thought I wanted to go down the professor track and then about three days into MCAD I realized it wasn’t for me. I was passionate about creating and realized that if I was teaching all the time it just wasn’t going to be satisfying.
That was the moment that catalyzed things for me. I realized wanted to be here in Minneapolis, to be the best in Minneapolis. I wanted to quit basically everything else I
I was at the show, the first day went fine, but then that night this wild storm came through. I could barely sleep that night in the back of the van during a storm, but went to the show the next morning. And we had a corner booth–you know corner booths were the most desirable, so we’d pay more to have two streams of foot traffic seeing our work. But with a corner booth you’re also super exposed. So when a wind gust came through up underneath the tent that night, it lifted the entire 10x10. So woke up the next morning to find the display, naked, and the tent wrapped around a light pole a block away.
waters, probably on his private jet, with his son for a canoe trip. The whole time I’m thinking about how serendipitous the details were, and thinking, hey maybe he’ll at least buy my meal–
Joe: –and he paid for your dinner, didn’t he?
Jackson: He did! Anyway, the next day, there was an hour left of the craft fair. I had spent $1,000 on the fair, $1,000 driving down there. This couple comes by with 20 minutes left of the fair, looking to buy a $25 paper weight and that was it. So, yeah, I drove to Telluride, Colorado to sell a $25 paperweight.
glass studio was next door, and it was all rock ‘n’ roll. We joked that it was classical music playing over in the ceramics studio then it was sex, drugs, and rock ‘n’ roll next-door in the glass studio. So, what are you gonna choose as a 20 year old? It was so cool seeing somebody obsessed with process, material.
We would literally blow glass for several days on end and then you’d say “Oh, do you wanna do more tomorrow?” All after we’d just worked 12 hour days for three or four days in the middle of summer.
You just had this obsession around creating, being in the moment, having a rhythm.
Joe: I wanted to keep at it. You were willing to provide me with as much information and
Jackson: I thought it was a terrible idea! Because when you build a shop it’s way more work than you anticipate. When you have a shop it’s this family member that
was doing. Then I went to you and said, “I think we should build a studio, even though I think it’s a bad idea.”
Joe: Do you remember why you felt like it was a bad idea?
Jackson: I was a little fearful of where having a studio would take us. I ultimately really wanted to be creative and I knew once we built a studio it would lead us down a certain road. I was around 24 I think, and perhaps I was scared to commit to a trajectory when I wasn’t sure how we’d do it. But I felt confident we’d figure out how to make it work.
I also knew that I didn’t want to do art fairs, driving in the van every weekend of the summer for the rest of my life so I said “OK, we have to figure out how to make this happen.”
Do you remember your worst art fair experience?
Joe: Oh yeah, that time in Des Moines–Jackson: –there was a tornado, yeah?
Then the rest of the show it was 110, and I was under absolutely no canopy just getting absolutely fried by the sun. I was completely burned, by myself standing on a corner in Des Moines, Iowa trying to sell $4500 vases that nobody was interested in back in 2009. I was just ready to be done with that life at that point but we still kind of did it for a few more years after that.
What are some memorable experiences you wish you could forget?
Jackson: Driving to Telluride, Colorado by myself. I did a two day show and it said it was a 21 hour drive. The first day I didn’t sell a single thing, the crowds were super thin. I was camping because I didn’t have the money for a hotel, but that night I was like… “you know whatever, it doesn’t matter,
Experiences like that can really motivate you to make a change.
you need to take care of constantly and it always needs money, you have to feed it all the time.
Joe: You were at some show on the East Coast, and I had enough money to put gas in the van, drive down there, and rent a spot in the fairgrounds so I could camp in the back of the van once I had emptied out the work.
I’m going to get a nice meal– I’m not eating canned soup for dinner.”
I remember sitting at this nice restaurant, and there’s this hedge fund manager or something there. just remember feeling like he was on the opposite end of reality–he had a home in Telluride, flew in on his private jet. He says he comes up to Minnesota every year for the boundary
“All of a sudden there was this person I saw as a peer with a ton of knowledge that was different from anyone else that I had met in that small community.”
“I realized I wanted to be here in Minneapolis, to be the best in Minneapolis.”Hear more from the founders
Meet the men, women and dogs behind the blow pipe.
MEET TAYLOR Glass maker, glass ceiling breaker, teapot collector.
MEET KEVIN O.G. hot shop veteran, big talent from a small town.
MEET JOE: Skater, co-founder, meaningful maker.
MEET TYLER Party monster, art department jock, shit-talker.
“I’m drawn to the immediacy of the glassblowing process.”
“You don’t have to be big to be mighty.”
“It’s addicting... the pursuit of better.”getting
“I like the big stuff: big, heavy, hot, fast. The muscle dummy stuff is what I’m good at.”
At the Glass House (the place we call home) our vertically integrated factory allows the proximity to immediately address key issues. From renewable energy and waste management, to paying a living wage and creation of green spaces, we are working to protect our environment and improve our community. Because nearly all of our manufacturing work is all done under one roof we are working to create a more ecological industry, and we can prove it. Don’t take our word for it.
Book an appointment to come see us IRL, or for all you out of towners we can meet virtually. It’s not only an exclusive look at our handmade collections, but also one-on-one design support.
Parallel Teardrop Pendants at The Julia
HENNEPIN MADE ABOUT TOWN
We started our studio in Minneapolis, and here is where our lights had some of their first installations.Parallel Wide Cylinder Pendant at Spoon & Stable Neena Pendants at Four Seasons Bruma Sconce at Sidebar by Surdyk’s Lacuna Pendants at Glass House
You may be familiar with the work of Barry Bordelon and Jordan Slocum, collectively known as the Brownstone Boys. They’ve been featured by the likes of HGTV, NY Times, Architectural Digest and New York Magazine, to name a few. Known for restoring iconic Brooklyn Brownstones, the duo approaches each project with meticulous attention to preserving historic details, while at the same time infusing their spaces with their imaginate point of view— leveraging a mixture of bold colors, pattern play, custom carpentry and of course, statement lighting pieces.
Though in a different city, we love that the Brownstone Boys connect to their Brooklyn community, not unlike Hennepin Made’s connection and collaboration with our fellow Minnesotans. Their handmade, human touch is evident in every detail, exemplifying unique, thoughtful creation. We love their reverence for existing constructions and objects and how they value reusing and restoring over discarding and mass producing.
We can’t quite label Natalie Meyers’ signature style. Japandi? Sandafornian? Informed by Nordic and Japanese sensibilities, her style is balanced out with a laid back California cool. Marrying indoor and outdoor spaces and leveraging light as a central component to her design, we’ll just say she has her own thing, and that’s what caught our attention.
Mixing natural textures and materials, her work is a meditation on how humans relate to objects and objects relate to humans. Her studio, Veneer Designs is an award-winning Los Angeles based interior design firm, is distinguished by the integration of contemporary spaces with her unique, modern perspective. Veneer continues to be in demand for everything from full home renovations to new construction, space planning, kitchen and bathroom remodels, but they’re approachable enough to simply distinguish a color scheme of a perfect piece to bring your space together.
Henri Interiors is based just around the corner in Saint Paul, Minnesota. Their work is infused with humanity, revolving around the idea that making human connection is essential to making the right space. The firm specializes in residential and commercial interiors. A sought after resource for a wide range of design services, they consult on everything from selecting and implementing fixed finishes, collaborating with architects, builders and trades. As our neighbors, they are committed to supporting local businesses—like Hennepin Made—and integrating themselves in our community.
Tara Kantor’s approach to design is clean, current and classic. She specializes in using contemporary palettes, textures and materials to build a neutral base, which is built out with a luxurious flare that manages to be easily attainable and comfortable to live in.
Tara Kantor Interiors is a New York design firm, owned and operated by Kantor. Her signature style finds harmony between modern luxury and warm comfort—straightforward but elegant. Like most of our co-conspirators, Kantor’s work is based around human connection. She works closely with clients to garner a true understanding of their own vision, taking careful consideration of everything from aesthetic preferences to lifestyle and interests. Kantor’s work can be seen all over the map with award winning projects in New York City, Westchester, Palm Beach and the Hamptons. She is the recipient of XYZ awards.
“…Dinosaur Hampton is this loony guy I met on Martha’s Vineyard, it’s vibing on the couch, it’s an island in some far off land.”
Style evolution, alter egos, and aspirations... Benjamin Kelly
aka Dinosaur Hampton talks to Hennepin Made about design and making in Minnesota.
How Owamni by The Sioux Chef is honoring Indigenous history through authentic food, mixed masonry and locally made lighting.
HGA lighting designer Chrysanthi Stockwell takes us to the intersection of contemporary and traditional. Read on
Making Wyatt Cenac’s dream Brooklyn home a reality with the Brownstone Boys (and a little bit of lighting from Hennepin Made).
Claire Thomas takes us on a color and pattern filled ride through prehistoric landscapes, an indoor balcony and a very peachy guest room.
“The wellness community here is very segregated. Safe spaces are key...”
– NELL RUECKL
Designing by intuition. Inspired by the Twin Cities.
“You gotta go with your gut in the end. I took a lot of great advice but ultimately you follow your own voice.”
On avoiding a questionable first instinct.
“We were going to paint all the rooms in different bright colors, then I woke up and decided NO that was too much. So those colors ended up in the bathrooms.”
A lighting collaboration of midwestern proportions between Victoria Sass / Prospect Refuge and Hennepin Made.
Explore more
A meeting of midwestern minds, Ontologia’s design philosophy is rooted in simplicity and shaped by dreamy exploration. Examining light and form, the collaboration is the premiere collection for Victoria Sass (founder of Mpls-based Prospect Refuge). Ontologia plays upon the dramatic seasonal shifts of the midwest’s climate and muses on how objects can be rethought and evolved. Hennepin Made was a perfect match for Prospect Refuge in both reverence for the handmade object and the humanity these objects can hold. As Sass explains, “the pieces are all highly interactive and affected by their coexistence with humans.” Beyond the congruence in design philosophy, Sass also was keen to work with Hennepin Made for their ability to fabricate each piece in-house, from metal and woodwork to electrical configurations. In Philosophy, Ontologia is the study of existence and the collection is a play on what it means to exist. In the uniqueness of each piece, personality is shaped by their individual responses to light and each “personality” expresses a unique character. The collection invites us to ponder how we live with things and how things live with us.
“We have always tried to see how our skill and use of materials can be pushed forward to create new forms. This is very representative of midwestern values of wanting to be resourceful and work with what you have right in front of you.”
—JACKSON SCHWARTZ“I’d like us to move through and beyond the function and form of interior design into engaging in a conversation, eliciting emotion. Lighting felt like it could handle that conversation.”
—VICTORIA SASS
With an organic form honoring the human made quality of each piece, Lacuna is imbued with the intimacy between the maker and the material, inspired by the observation of freely floating clouds.
Just like forms in nature, every single Lacuna piece is its own distinct form—no two are alike—though the overall combination creates an atmosphere of harmony.
Contributors
Copy: James Brundage, Mathew Swenson
Design: Jackie Menth, James Brundage
Photography: Caylon Hackwith, Nastia Krinitsyn, Graham Tolbert
