LINO TAGLIAPIETRA SEATTLE SHOWROOM 2006 2ND AVE
SEATTLE, WASHINGTON 98121
PHONE: (206) 420-4867
EMAIL: NICOLE@LINOTAGLIAPIETRA.COM
SHOWROOM HOURS THROUGH OCT 18 2024: WEDNESDAY -
Tagliapietra Inc.
THE SEATTLE SHOWROOM
In the summer of 1980, the world of glass art witnessed a pivotal moment when Lino Tagliapietra, a master glassblower from Venice, Italy, arrived in the United States. Known for his intricate and evocative glasswork, Tagliapietra had already earned international acclaim. His arrival in the U.S. marked the beginning of a new chapter that would forever intertwine his story with the city of Seattle.
Tagliapietra’s initial journey to the Pacific Northwest was fueled by his involvement with Pilchuck Glass School, an institution renowned for nurturing glass artistry. Pilchuck, founded by artist Dale Chihuly, became a haven for Tagliapietra, who spent many summers there honing his craft and sharing his immense talent. The lush, tranquil setting of the school and the vibrant glass art community left an indelible impression on Tagliapietra.
Falling in love with Seattle’s dynamic artistic atmosphere and its supportive community, Lino began to envision a more permanent presence in the city. By the early 1990s, he made the momentous decision to settle in Seattle, purchasing a building that would come to play a significant role in his life and career. Initially, this building served as a storage space for his tools and work, a practical choice for a master craftsman deeply engaged in his craft. However, as the years went by, Tagliapietra’s vision for the space evolved. In 2017, the decision was made to transform the building into a dedicated showroom for his work. This renovation project was more than just a physical transformation; it was a manifestation of Lino’s dedication to his art and his desire to create a space where his creations could be appreciated in their full splendor.
The newly renovated Seattle Showroom quickly became a celebrated venue, showcasing Tagliapietra’s extraordinary glasswork. Visitors were treated to a curated collection of his pieces, each reflecting his mastery and the deep tradition of Venetian glassblowing. The showroom not only served as a gallery but also as a testament to the artist’s journey and his commitment to the craft. For eight remarkable years, the Seattle Showroom stood as a beacon of artistic excellence and a testament to Tagliapietra’s impact on the local and international glass art communities. It offered a unique glimpse into the world of a true glass master and allowed art lovers to engage with his work in an intimate and meaningful way.
However, as with all good things, the chapter of the Seattle Showroom is coming to a close. In October 2024, the showroom will permanently close its doors. This decision marks the end of an era for both Tagliapietra and the Seattle art community. While the showroom will be missed, the legacy of Lino Tagliapietra’s work and his influence on the glass art world will undoubtedly endure.
As Tagliapietra prepares to close this significant chapter, his journey from Italy to Seattle remains a powerful story of passion, artistry, and community. His presence in Seattle has left an indelible mark on the city’s cultural landscape, and his glasswork will continue to inspire and captivate audiences around the world. In reflecting on the closing of the Seattle Showroom, it is clear that while the physical space may be ending, the spirit of Lino Tagliapietra’s artistic vision will continue to shine through his work and the many lives he has touched through his art. Lino’s presence will remain in the Seattle region at the Museum of Glass in Tacoma with his legacy Gallery. The Maestro’s home gallery in Murano, Italy, will still be avaialble to all who plan to travel and see his work.
EVENTS OVER THE LAST EIGHT YEARS
Tasmania, 2013. Lino Tagliapietra. Blown Glass. 12” H x 5” W x 4” D. Photographs by Russell Johnson.
Tasmania was inspired by the warm colors of the Australian outback. Lino remembers his first visit to the continent, and recalls the bright blue sky highlighted against the red dusty landscape. These works combine reticello discs with clear glass to create the effect of floating color.
Tasmania, 2012. Lino Tagliapietra. Blown Glass. 8 3/4” H x 20 3/4” W x 2 3/4” D. Photographs by Russell Johnson.
Inspired by the vibrant colors and prints of West African wax fabrics, the Africa series features bold murrine and bright colors.
Africa, 2017. Lino Tagliapietra. Blown Glass. 10 1/2” H x 19 1/4” W x 19 1/4” D. Photographs by Russell Johnson.
Dubai Panel, 2021. Lino Tagliapietra. Blown Glass. 36 3/4” H x 15 1/2” W x 6 1/2” D. Photographs by Russell Johnson.
Nuvola, 2015.
D. Photographs by Russell Johnson. Nuvola is made by combining glassblowing and glass-fusing techniques. In the hot shop, Lino blows individual spherical elements from cane and clear glass. These are combined together in a flat kiln while still hot, and are then fused in the kiln over a period of several days. Lino must consider how each element will melt and flatten, calculating the exact quantity of glass to use in order to achieve the desired effect.
Lino Tagliapietra. Blown & Fused Glass. 39 1/4” H x 26 1/2” W x 1 3/4”
The fluid shape of the vessels suit their namesake, Cayuga Lake, the longest of New York’s Finger Lakes. Lino achieves the Cayuga’s unique shape by molding the hot glass with cork paddles during the blowing process.
Cayuga, 2016. Lino Tagliapietra. Blown Glass. 21 1/2” H x 14 1/2” W x 7 1/2” D. Photographs by Russell Johnson.
Fuji, 2015.
Maestro Tagliapietra has visited Japan a number of times, and remains fascinated by the culture and landscape of this captivating country. Reflecting on this particular series, Lino comments that his travels in Japan taught him that “simplicity is not easy. It is complicated to make a simple design refined.”
Lino Tagliapietra. Blown Glass. 22” H x 14 3/4” W x 9” D. Photographs by Russell Johnson.
The Angel Tear series has a long history - its evolution has lasted nearly 20 years. The Maestro continues to be drawn to this form because it allows him to explore different techniques - murrine, cold-working, and cane on one multi-faced vessel.
Angel Tear, 2005. Lino Tagliapietra. Blown Glass. 28” H x 14 1/2” W x 5” D. Photographs by Russell Johnson.
Inspired by the biblical Queen Sheba (or “la regina di Saba” in Italian), the Saba series has a mystical quality that often features jewel tones paired with warm red and orange hues. Lino uses incalmo to create the bands of color and cane through the body of the works.
Saba, 2005. Lino Tagliapietra. Blown Glass. 29” H x 10 3/4” W x 5 1/2” D. Photographs by Russell Johnson.
Artworks like Stromboli have simpler forms, which allow Lino to more dramatically play with color and design. Lino will often play with transparency in the murrine, which allows him to highlight not only the exterior of the vessel but the inside as well.
Stromboli, 2016. Lino Tagliapietra. Blown Glass. 17” H x 11 1/4” W x 7 3/4” D. Photographs by Russell Johnson.
The Dinosaur represents the drama of glassblowing. Lino stretches and curves the neck of the vessel in the last moments of the glassblowing process - a feat that requires the precision and attention of the entire glassblowing team.
Dinosaur, 1999. Lino Tagliapietra. Blown Glass. 37 1/4” H x 9 1/4” W x 5 3/4” D. Photographs by Russell Johnson.
The Mandara series are primarily closed-form vessels whose surfaces have been heavily engraved in a variety of patterns. In conceiving these works, Lino reflected on the decorative mandala drawings of the Buddhist religion, whose intricate and geometric designs encourage meditation and focus. The Maestro similarly finds meditation and reflection in the process of glassblowing.
Mandara, 2003. Lino Tagliapietra. Blown Glass. 17 3/4” H x 15 1/2” W x 5 1/2” D. Photographs by Russell Johnson.
The Maestro began the Endeavor series in the late 1980s, using molds to create small and slender boats. Over the next 10 years, Tagliapietra continued to experiment with Endeavor, eventually achieving the meter-long vessels that compose the series today. Today, Endeavor begin as closed vessels. During the blowing process these long bubbles of glass are stretched over metal molds to form the gentle curves and tapered points that define the series. Having cooled, the vessel is in half horizontally with the base of this cut then becoming the final Endeavor.
Endeavor, 2019. Lino Tagliapietra. Blown Glass. 5 1/4” H x 51” W x 6 1/2” D. Photographs by Russell Johnson.
Each swirl of cane in the Kira is an individually blown vessel, which are cooled and grouped together before being picked up like murrine by a sphere of clear glass. Lino highlights the patterns of this work with complimentary engraving.
Kira, 2019. Lino Tagliapietra. Blown Glass. 17 1/4” H x 16” W x 7” D. Photographs by Russell Johnson.
Captivated by the vibrancy of the colors and culture of the Caribbean, Lino Tagliapietra named this particular series after the capital of the Bahamas. The Maestro embraces the bold in this work and chooses a vivid yellow cane, whirled and stretched into psychedelic patterns, as the base layer for this artwork. Always looking to nature for inspiration, Lino has placed the murrine boasting a rainbow of hues, in a design that seems to grow up the sides of the vessel. The Nassau style of murrine is reminiscent of colorful feathers, or even coral rippling underwater, and epitomizes Lino’s ability to reinterpret the natural world in glass.
Nassau, 2020. Lino Tagliapietra. Blown Glass. 13 1/2” H x 11 1/2” W x 5 1/4” D. Photographs by Russell Johnson.
Africa, 2016. Lino Tagliapietra. Blown Glass. 9 3/4” H x 18 1/4” W x 18 1/4” D. Photographs by Russell Johnson.
Inspired by the vibrant colors and prints of West African wax fabrics, the Africa series features bold murrine and bright colors.
Meduse, 2013. Lino Tagliapietra. Fused Glass. 15 3/4” H x 15 3/4” W x 1 1/2” D. Photographs by Russell Johnson.
Fenice, or “phoenix” in English, are named for La Fenice theatre in Venice - a historic building that has burned down and been rebuilt three times throughout its long history. An homage to his hometown, these artworks gracefully rise and curve into delicately tapered necks.
Fenice, 2020. Lino Tagliapietra. Blown Glass. 19 3/4” H x 20” W x 14 1/2” D. Photographs by Russell Johnson.
Named for the floral pattern of the murrine, this Florencia vessel is simple in form, which highlights its bouquet of overlapping colors. This artwork is composed exclusively of Florencia murrine, made by layering and folding together different colors of flat ribbon cane, creating a petal-like structure within the rod of stretched glass. Once sliced into small pieces, the murrine are laid out on a heating stone and grouped tightly together. When laying out the murrine, Lino can assess how the glass pieces will stretch and shape during the blowing process.
Florencia, 2019. Lino Tagliapietra. Blown Glass. 13 3/4” H x 16 1/2” W x 16 1/2” D. Photographs by Russell Johnson.
Florencia, 2019. Lino Tagliapietra. Blown Glass. 20 1/2” H x 11 1/4” W x 11
1/4” D. Photographs by Russell Johnson.
Florencia, 2020. Lino Tagliapietra. Blown Glass. 16 1/4” H x 14 1/2” W x 7
1/4” D. Photographs by Russell Johnson.
The Ala series developed after the Endeavor. The “V”-shaped artworks, though seemingly uncomplicated, posed a challenge for Lino who needed to consider the right type of mold that could accommodate his vision. The Ala as we know it today was first made in 1995 at the Pilchuck Glass School while Tagliapietra was working with glassblower William Morris. Since then the bird-like shapes have become a signature of Lino’s career.
Ala, 2009. Lino Tagliapietra. Blown Glass. 11 3/4” H x 69 1/2” W x 6 3/4” D. Photographs by Russell Johnson.
In the Borneo series, Lino applies long thin canes to the exterior surface of the glass, which interrupts the internal swirl of cane within the vessel itself. Lino wanted to evoke the idea of a bamboo forest, and the movement the plants have when blowing gently in the wind.
Borneo, 1998. Lino Tagliapietra. Blown Glass. 18 1/4” H x 9” W x 9” D. Photographs by Russell Johnson.
Borneo, 2015. Lino Tagliapietra. Blown Glass. 24 1/2” H x 10” W x 10”
D. Photographs by Russell Johnson.
La Mano 2012. Lino Tagliapietra. Fused Glass. 11” H x 17 1/2” W x 7 1/2” D. Photographs by Russell Johnson.
Named for the Gulf of Bothnia between Finland and Sweden, this ephemeral series features a graceful teardrop shape and distinctly segmented styles of murrine.
Bothnia, 2012. Lino Tagliapietra. Blown Glass. 31” H x 31” W x 8 1/4” D. Photographs by Russell Johnson.
The Masai Totem, which debuted for the first time in the winter of 2020, is a brand new method of displaying Lino’s artworks. Featuring 9 individual glass elements, the installation towers in the Seattle Studio and offers a more complete viewing experience of each Masai piece.
Masai Totem, 2020. Lino Tagliapietra. Blown Glass. 96” H x 28” W x 28” D. Photographs by Russell Johnson.
Lino considers the drama of engraving in the Tholtico series. By layering opaque colors of glass and then adding engraving through the top layer, Lino creates playfully patterned pieces that reveal new colors beneath their surface.
Tholtico, 1999. Lino Tagliapietra. Blown Glass. 13 1/2” H x 13” W x 13”
D. Photographs by Russell Johnson.
Lino has always been fascinated by working on smaller-scale pieces. For him “it’s like taking care of a bonsai tree - every tiny detail must be carefully executed”. These Petra are petite bird-like figures that vary in their degrees of abstraction. Lino often looks to nature for inspiration, and has several series with avian themes, such as Oca, Ala, and Fenice.
Petra, 2012. Lino Tagliapietra. Blown Glass. 6 1/2” H x 8 1/4” W x 3 1/4” D. Photographs by Russell Johnson.
Inspired by his visit to Australia and the aboriginal paintings he saw there, Lino created the Kookaburra series. These vessels feature vibrant and intricate patterns, similar to the aboriginal style, and play with balance as the forms often perch atop a small base.
Kookaburra, 2020. Lino Tagliapietra. Blown Glass. 41 3/4” H x 13” W x 8 1/4” D. Photographs by Russell Johnson.
The Dinosaur represents the drama of glassblowing. Lino stretches and curves the neck of the vessel in the last moments of the glassblowing process - a feat that requires the precision and attention of the entire glassblowing team.
Dinosaur, 2005. Lino Tagliapietra. Blown Glass. 58 3/4” H x 16 1/4” W x 5 3/4” D. Photographs by Russell Johnson.
Dinosaur, 2005. Lino Tagliapietra. Blown Glass. 67” H x 9” W x 6 1/4”
D. Photographs by Russell Johnson.
Manaus, 2016. Lino Tagliapietra. Blown Glass. 13 3/4” H x 13 3/4” W x 6” D. Photographs by Russell Johnson.
Avventurina is a glassblowing technique from the 17th century that combines metal shavings with molten glass. This is an extremely difficult process that requires patience and persistence. Lino further intensifies this method by adding additional colors, culminating in his particularly precious Avventurine vessels. Fenice, or “phoenix” in English, are named for La Fenice theatre in Venice - a historic building that has burned down and been rebuilt three times throughout its long history. An homage to his hometown, these artworks gracefully rise and curve into delicately tapered necks.
Avventurina Fenice, 2015. Lino Tagliapietra. Blown Glass. 9” H x 12 1/2” W x 2 3/4” D. Photographs by Russell Johnson.
The Maestro began the Endeavor series in the late 1980s, using molds to create small and slender boats. Over the next 10 years, Tagliapietra continued to experiment with Endeavor, eventually achieving the meter-long vessels that compose the series today. Today, Endeavor begin as closed vessels. During the blowing process these long bubbles of glass are stretched over metal molds to form the gentle curves and tapered points that define the series. Having cooled, the vessel is in half horizontally with the base of this cut then becoming the final Endeavor.
Endeavor, 2020. Lino Tagliapietra. Blown Glass. 7” H x 50” W x 6 1/4” D. Photographs by Russell Johnson.
Masai, 2021. Lino Tagliapietra. Blown Glass. 66” H x 27” W. Photographs by Russell Johnson.
The Masai Series is another of Lino’s enduring inspirations. Named for the Masai Tribe of Kenya and Tanzania, Lino pays homage to the tribe’s long decorative spears in these wall installations. The transparency and absence of engraving of these particular works allow the Masai to cast incredibly colorful shadows.
This particular series was named for the capital of American Samoa, and its rounded shape is meant to portray the geography of the islands that make up the Samoan region. Here the Maestro replicates the colors of hot sand and sun and sticks to a warm palette of red and yellow.
Pago-Pago, 2009. Lino Tagliapietra. Blown Glass. 11 1/2” H x 24” W x 6
3/4” D. Photographs by Russell Johnson.
Cephalonia, 2018. Lino Tagliapietra. Blown Glass. 21” H x 11 1/2” W x 6”
D. Photographs by Russell Johnson.
Isola Dell’Arcobaleno, 2011. Lino Tagliapietra. Fused Glass. 47 3/4” H x 27 3/4” W x 1 3/4” D. Photographs by Russell Johnson.
Cornacchia, 2000. Lino Tagliapietra. Blown Glass. 12 1/4” H x 12” W x 4
3/4” D. Photographs by Russell Johnson.
Aurora Panel [LED], 2019. Lino Tagliapietra. Blown Glass. 17 1/4” H x 29 1/2” W x 3 1/2” D.
SHOWROOM HOURS:
