2018 Pilchuck Glass School Summer + Fall Program Catalog

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PILCHUCK GLASS SCHOOL PROGRAMS

2018



P I LC H U C K G L A S S S C H O O L F O ST E R S A N D E D U C AT E S A W O R L D W I D E C O M M U N I T Y T H AT E X P LO R E S T H E C R E AT I V E U S E O F GLASS IN ART AND DESIGN.

PROGRAMS 2018

W H Y S P E N D T I M E AT P I LC H U C K ?

Because it’s about the artists—artists as instructors, students and staff. Artists in residence and visiting artists from the vibrant Pacific Northwest glass network. Artists teaching artists. Because it’s about experimentation—pushing yourself, your work, your conceptions of what’s possible in a dynamic educational space and safe learning environment. An immersive experience leading to personal innovation. Because it’s about community—building bridges, creating future partnerships, sharing experiences, new ideas, methods, materials and techniques. Pilchuck carries within it a sense of the history and connectivity of the glass movement and proves to be pivotal to the advancement of glass art. Because it’s about exposure—artists sharing diverse ways of thinking and making, allowing each other to take risks in a supportive, encouraging environment. Because it’s about access—artists have access to a comprehensive range of glass facilities and equipment, including the Print Shop, BotLab, Woods & Metal Studio and our Library, which holds video documentation of demonstrations dating from the 70’s to the most recent summer. Because it’s about collaboration—thematic sessions, outside workspaces and an open environment means that collaboration between courses and disciplines is a constant, creating conduits for students and instructors to realize new ways of making. Exploring form and meaning through collaboration is the cornerstone of our educational foundation. Why come to Pilchuck? Because Pilchuck creates an opportunity for exponential growth. Yours.


2018 PROGRAMS

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2 0 1 8 H I G H L I G H TS Pilchuck Programs run from April through November. Spring 2018 begins with our John H. Hauberg Fellowship and Spring Tours — Artists @ Work. New this year, Pilchuck is proud to host youth workshops in early spring and late fall partnering with Hilltop Artists, from Tacoma, Washington. Summer Programs include two and three week intensives continuing through August, followed by our one week Fall Program and finishing up the year with our Emerging- Artistin-Residence program.

SUMMER PROGRAM Summer Program courses offer a wide range of learning and skill levels in dynamic and immersive sessions. Key words structure the focus of each unique session, and artist instructors use exploration of the themes to provide parameters for inquiry and investigation into course content and methods. This summer, Form + Function, Ephemeral, Metrics, Method, Archetype and Corporeal will provide pathways to creation and discovery. Pilchuck’s summer Artists-in-Residence program invites artists, designers and creative thinkers to share professional expertise while contributing to the session’s educational atmosphere by creating events and initiating discussion while sharing knowledge and experience. This summer Pilchuck welcomes artists of all levels to participate in courses that delve into traditional forms of glassmaking, as well as unique hybrid courses that explore cross-pollination. Digital fabrication with 3-D scanning, printing and modeling, glass and electronics, glass and ceramics, model and mold fabrication, neon, plasma, flameworking, hybrid printmaking, writing and equipment fabrication are among the diverse methods and topics offered in Summer 2018.

FA LL P R O G R A M Fall Program courses are a new alternative to the longer Summer Program. See more information on page 22.

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SPRING TOURS + ARTISTS @ WORK Pilchuck Glass School was founded in 1971 by Dale Chihuly with the patrons Anne Gould Hauberg and John H. Hauberg. Dale Chihuly envisioned Pilchuck as an immersive educational experience, based on the premise that living, eating and working together is all part of how we express ourselves through our art. Although much has changed since the 1970’s, the original core values of the school endure and are voiced in its mission: Pilchuck Glass School inspires creativity, transforms individuals and builds community. Spring is magical at Pilchuck when the campus is in full bloom. Experience the grounds and facilities that inspire hundreds of artists each year, enjoy tea or brunch in our iconic Lodge and watch glassmaking in action during our Spring Tours and Artists @ Work program. Artists @ Work are glassblowers who push the boundaries of the medium and who are recognized for their expertise and artistry. We welcome this year’s artists, Kait Rhoads and Dante Marioni, who will display their latest creations and create new work live in the Hot Shop. Spring Tours run from May 2-6, 2018. Visit our website to view tour times, purchase tickets and join us this spring for our only open-campus event!

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SPECIAL SCHOLARSHIPS While all scholarship applicants qualify for general scholarships, applicants may also be eligible for a special scholarship if they are: • an international applicant, a citizen of Australia, New Zealand, Eastern Europe, the Czech Republic or Norway • a resident of the Pacific Northwest (AK, BC, ID, OR, WA), Hawaii, New Mexico, New England (NH, MA, ME, RI, CT, VT) or Los Angeles • a US citizen of African American, Hispanic American, Native American or other minority heritage • an applicant for a flameworking course • a 2017 Summer Staff or Campus Assistant • a 2017 Corning Inc. Foundation Award or Saxe Award nominee • a nominee from a 2018 Partner Institution (see list online) M U R A N O R E S I D E N CY Six top ranking intermediate to advanced glassblowers who apply for a scholarship will be invited for a cultural, live-work experience in Murano, Italy, between April 30 – May 11, 2018! The top ranking glassblower will also receive a full scholarship for a 2018 Pilchuck summer course as well. All six participants will have the opportunity to work in a historical factory in Murano. Different Maestri from Murano will participate with the group to focus on the research and design of chandeliers. Participants will have a 360° experience, work in the furnace will be balanced by opportunities to explore on one’s own the history and factories of Murano. Included in this scholarship are visits to museums, fabricators, time for research and some personal hot shop time to realize individual work. This opportunity is supported by the Association Culturale Per La Salvaguardia Delle Techniche Vetrarie Muranese (ACTVM). ACTVM will provide the participants with housing, a contribution towards living expenses and access to studio and equipment as is. No travel expenses will be covered. Artists are required to bring their own glassblowing tools. S12 The top scoring scholarship applicant will be offered a full scholarship for a 2018 Pilchuck summer course as well as a residency at S12 open access studio and galllery in Bergen, Norway. S12 supports artists experimenting with glass in all its diversity, and encourages interdisciplinary collaboration between glass and other art forms. Participants will be provided with housing, basic tools and equipment as is, basic materials, and may be provided with assistance towards travel upon request. The participant is responsible for meals, bringing any specialized tools or equipment that may be needed and for additional or specialized materials. (www.S12.no)

Scholarship applications are due February 1st, 2018. 5


2018 ARTISTS AND CRAFTSPERSONS IN RESIDENCE

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2 0 1 8 A R T I STS I N R E S I D E N C E Every session, Pilchuck invites noted artists to experiment with glass on campus. Paired with gaffers and artist assistants, they have the opportunity to address glass within their practice or add it to their vocabulary of work. For the Pilchuck student, artists in residence bring much to the campus learning experience, including different approaches and unique interrogations of the material. This year, some of the most innovative artists working in the areas of interactivity, narrative, design, political commentary, digital fabrication, sculpture, painting, printmaking and performance will bring new perspectives to each summer session. Session 1

Form + Function

Anthony Dunne Fiona Raby

Session 2 Ephemeral

Leigh Claire La Berge Caroline Woolard

Session 3 Metrics

Ho-Wan-Ut “Haila” Old Peter John Torreano

Session 4 Method

Leo Berk Laura de Santillana

Session 5 Archetype

Tanya Aguiñiga Reilly Donovan

Session 6 Corporeal

Damien Davis Tip Toland

2 0 1 8 C R A F TS P E R S O N S I N R E S I D E N C E Craftspersons in residence, also known as gaffers, are accomplished artists with expertise in hot glassworking who execute the creative visions of artists in residence and instructors. They have a strong interest in collaboration and a desire to stretch their abilities and ways of thinking. Craftspersons in residence bear the technical challenge and responsibility of creating work for other artists. Pilchuck invites two craftspersons in residence to participate in each session. Session 1

Danielle Brensinger Patricia Davidson

Session 2

Jason Christian Daryl Smith

Session 3

Ben Edols Dante Marioni

Session 4

DH McNabb Morgan Peterson

Session 5

Joe Grant Kazuki Takizawa

Session 6

Deborah Adler Courtney Branam

Read about Artist Assistantship opportunities on page 26. 7


2018 ARTISTS IN RESIDENCE S E S S I O N 1: F O R M + F U N CT I O N

SESSION 2: EPHEMERAL

SESSION 3: METRICS

A N T H O N Y D U N N E & F I O N A R A BY

LEIGH CLAIRE LA BERGE & CAROLINE WOOLARD

H O - W A N - U T “ H A I L A” O L D P E T E R

Anthony Dunne and Fiona Raby are professors of design and social inquiry at The New School and Fellows at the Graduate Institute for Design, Ethnography & Social Thought at The New School for Social Research. Dunne & Raby was established in 1994. Their work has been exhibited at MoMA, New York, Pompidou Centre in Paris and Design Museum in London, and is in several permanent collections including MoMA, Victoria and Albert Museum and Austrian Museum of Applied Arts.

Dunne & Raby use design as a medium to stimulate discussion and debate about the social, cultural and ethical implication of existing and emerging technologies. At The New School, as co-directors of the Designed Realities Lab, they experiment with research and teaching platforms that use design as a catalyst for a form of interdisciplinary imagining that synthesizes social and political thought, world-making and emerging technology—a sort of ‘many worlds’ lab dedicated to sustaining the idea of multiple possibilities. 8

Leigh Claire La Berge professes at the intersection of arts, literature, visual culture and political economy. La Berge’s books have been published by Oxford, University of Iowa and Duke University Press. She is currently assistant professor of English in the Department of English at BMCC CUNY. Her book Scandals and Abstraction: Financial Fiction of the Long 1980s was recently published by Oxford University Press.

Caroline Woolard is a New York based artist who creates discrete objects as well as institutions for the solidarity economy. Her feminist, transdisciplinary method connects discrete objects to aligned contexts of circulation. Woolard’s work has been celebrated by the National Endowment for the Arts, where she delivered the 50th Anniversary keynote and in New York Close Up, the PBS / Art21 documentary series. Together at Pilchuck, La Berge and Woolard will be working on a project about time and capitalism.

As a traditional Puget Salish basketry weaver and teacher, Ho-Wan-Ut “Haila” Old Peter has devoted over twenty years to the art of basketry. Old Peter specializes in cedar and beargrass baskets with a heavy focus on patterns and contrasting colors. Old Peter is committed to teaching and preserving basketry for her family and tribal community.

J O H N TO R R E A N O

John Torreano is a painter, photographer, sculptor and performance artist. His artworks take many forms: wood panels, columns, wall balls, gem shapes and glass. With an on-going investigation into the relationship between “painterly space” and concepts of space in the astral sense, many of his works have been inspired by images of outer space from the Hubble spacecraft. Since 1965, Torreano has exhibited in museums and galleries of national and international standing.


SESSION 4: METHOD

SESSION 5: ARCHETYPE

SESSION 6: CORPOREAL

LEO BERK

TA N YA A G U I Ñ I G A

D A M I E N D AV I S

Leo Saul Berk believes his childhood spent living in a radically unconventional house designed by the visionary American architect and painter Bruce Goff shaped him to become the artist he is today. Berk’s work continues to examine the transformative potential of exceptional architecture to positively shape our lives. Based in Seattle, Berk has received the Betty Bowen Award and the Artist Trust Innovator Award.

Tanya Aguiñiga is a Los Angeles based artist/designer/craftsperson who was raised in Tijuana, Mexico. She holds an MFA in furniture design from Rhode Island School of Design and a BA from San Diego State University. In her formative years she created various collaborative installations with Border Arts Workshop. Her current work uses craft as a performative medium to generate dialogues about identity, culture and gender while creating community.

Damien Davis is a Brooklyn based artist. His practice explores historical representations of blackness by seeking to unpack the visual language of various cultures and questions how societies code/decode representations of race through design and digital modes of production. Solo presentations include White Room, METHOD Gallery, Seattle, and PopRally Presents: Arty Gras, MoMA, New York.

L A U R A D E S A N T I LL A N A

R E I LLY D O N O VA N

T I P TO L A N D

Laura de Santillana was born into the Venini family, founders and owners of the eponymous factory in Murano, Italy. Santillana takes a minimalistic approach to glass, and uses her tablets as a canvas to explore possibilities. Her artistic practice is greatly inspired by long and frequent travels, “my studio is in my head, where my ideas are born in glass. The artwork is my diary”. Santillana exhibits her works worldwide.

Reilly Donovan is a new-media artist and experience designer working with emerging technology to produce interactive installations, virtual reality artworks, augmented reality exhibits and mixed-reality experiences. Donovan’s work explores how computer simulations, machine learning and interactive environments challenge the boundaries of our senses. His work examines how machines are molding our future, changing our culture and confronting our perceptions of reality.

Tip Toland lives in Vaughn, Washington. She received her MFA from Montana State University. Toland is a full-time studio artist and a part-time instructor in Seattle. Toland conducts workshops across the United States, Europe, Australia and the Middle East. She is currently represented by Traver Gallery in Seattle. Her work is in public and private collections, including Smithsonian’s Renwick Gallery, Crocker Museum, St. Petersburg Museum of Art and MoMA. 9


SESSION

1 FORM + FUNCTION

M AY 1 4 –2 5

HOW TO APPLY

SCULPTURAL BEAKERS

A P L AY F U L B A N T E R

B LU R R E D L I N E S

Glassblowing, Hot-Glass Sculpting

Glassblowing, Design, Color Application

Glassblowing, Flameworking, Lathe, Design

In this course, we will think about the process of what we make as a strategy. Through drawing and demos, we can break down the design to the essentials and complete our ideas concisely. We will look at the anatomy of our set-ups to figure out a better way to execute our designs. Looking at the history of utilitarian design from various regions, we will discuss its purpose and discover a new vernacular for the work which we are creating. We will play with form and color theory, strip things down and build them back up to clarity.

Why limit yourself to one type of glass? Nowadays, the line between flameworking and furnace glassblowing is as thin as it’s ever been. In this class we aim to blur these lines even further. Using functional design as a launching point, this class will compare and contrast various glassworking techniques in both furnace glass and borosilicate simultaneously. With a focus on functionality, patterning and hotconstruction techniques, we can translate influences from each type of glass into the other and back. Reasonable experience in at least one of these types of glassworking is preferable.

This hot shop course will explore a variety of traditional and demanding hot-shaping techniques. Using hand-shaping techniques and various approaches to surface manipulation, students will create new pieces as a reinterpretation of the historical heritage of hot-glass sculpting. Students will work in teams in the garage and with the hot torch, experimenting with different tools and techniques to bring their sculptures to life. Demonstrations and discussions will strengthen teamwork and encourage dialogue. A / INTERMEDIATE/ADVANCED

B / ALL LEVELS

A / ALL LEVELS

M A R T I N ŠT E FÁ N E K

Martin Štefánek utilizes the richly visual qualities of metallurgicalcolored glass to formulate the exotic and mythic animals that inspire him. In 2000, Štefánek founded his own glass studio in Desná, Czech Republic. He has worked on several prestigious projects, including a glass sculpture gifted to Pope John Paul II. Starting in 2001, Štefánek began cooperating with Petr Seifert on creating reproductions of historical glass pieces for the royal and prominent aristocratic houses of Europe.

DEVIN BURGESS

Devin Burgess lives in Greensboro, Vermont, where he runs Borealis Studios with his wife, Jerilyn Virden. Aside from producing his own work, Burgess also produces designs and executes projects for architectural firms and designers worldwide. He was a recipient of a three-year glass residency at Penland School of Crafts, and has exhibited at SOFA, Chicago, Philadelphia Museum of Art and Smithsonian Craft Show where he won the Excellence in Glass Design award.

J E F F B A LL A R D BRENT ROGERS

Jeff Ballard is a mixed-media glass artist and professional gaffer. In 2012, Ballard received the US Arts Envoy Grant to help start a glassblowing program for under-privileged youth at Berlin Glas, Berlin, Germany. Ballard is currently creating out of Big Spin Glass Studio, Eugene, Oregon. Brent Rogers is a Seattle native, where he worked as a production glassblower and designer at the Glass Eye Studio. He’s been an active member of Fifty Four Sixteen in Ballard, Washington, since it opened in 2010.

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Session 1 Gaffers: Danielle Brensinger and Patricia Davidson 10


PAT T E R N L A B

BUILDING POSITIVES

Flameworking, Pattern

Moldmaking, Kilncasting, Glassblowing, Hot Casting

In this course, students will be pushed to delve into and explore the world of flameworking and pattern making. Using borosilicate glass in the Flat Shop, students will uncover a world of form and pattern. Together, the class will create complex, original patterns and imagery, while visiting artists will inspire with their demonstrations. Students will be encouraged to merge an understanding of the material with their concepts and ideas to drive the direction of their projects, together creating a laboratory of new pattern work. A / INTERMEDIATE/ADVANCED

This course will be an immersion into the wide world of moldmaking. Students will focus on building techniques to create positive forms that can be made into molds to inform a variety of glass studio applications including glassblowing, kiln forming and casting. Students will be making molds to create wax positives, glass castings, hot blow molds and kilnforming molds. Students will also visit with guest artists, be exposed to alternative moldmaking techniques and can expect to leave with multiple molds to use in their home practice. A / ALL LEVELS

VITREOGRAPHY AND T H E M U LT I P L E

Printmaking, Imagery, Sandblasting, Experimentation Students will have the exciting opportunity to use glass plates in a printmaking process called vitreography. Explore the multiple through various printmaking techniques including sandblasting through a variety of resists such as Buttercut and vinyl. Other techniques will include drypoint etching, armor etch, sandpaper and more. There will be a print exchange as well as guidance on how to create 2-4 completed editions. Students will gain knowledge of new printmaking techniques, paper and paper handling, ink mixing and blind embossing. C / ALL LEVELS

DISK

DISK (Daisuke Saito) was born in Tokyo, Japan in 1984. DISK is one of Japan’s most versatile and talented marble and pendant artists, creating works with incredible precision and execution. DISK has been featured in galleries and shows throughout Japan, Canada and the United States. He has collaborated extensively, including collaborations with Elbo, Eusheen and 2-Stroke. DISK returns to instruct at Pilchuck after an absence of over 10 years.

C O R T N E Y B OY D ADAM COHEN

Cortney Boyd co-owns and operates Flux Studio LLC in Denver, Colorado. She received her BA from Hastings College and her MFA from SIUC. Inspired by objects of the past, Boyd’s work utilizes various techniques to create objects that evoke a familiar yet transitory feeling. Adam Cohen is the co-owner/operator of The Glass Door LA, a custom fabrication shop in downtown Los Angeles. He received a BFA from Alfred University and an MFA from SIUC. Cohen makes use of moldmaking and sculpting techniques to create recurring objects from his dreams.

BEN BERES

Ben Beres is one-third of conceptual art trio SuttonBeresCuller. They have actively been engaged in Seattle’s art scene for eighteen years, creating sculpture, performance and public art. They have received many awards, including a Creative Capital Grant, Stranger Genius Award and two MacDowell Colony Fellowships. On his own, Beres is an accomplished printmaker who exhibits at Davidson Galleries in Seattle. He is currently teaching printmaking at Cornish College of the Arts, Seattle, and has been actively working in the field of printmaking for twenty years.

A P P LY O N L I N E AT P I L C H U C K . C O M

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SESSION

2 EPHEMERAL

M AY 2 9 – J U N E 1 5

HOW TO APPLY

A LO N G I N G G A Z E

BALANCING ACT

Glassblowing, Optics, Installation, Experimentation

Glassblowing, Hot-Glass Sculpting, Sculpture

What would it look like if we could encompass and encapsulate wonder in a visual language? What forms would it take? Employing the phenomena of glass, light and the beautiful nature around campus, students will create artwork that is original and meaningful. This course will explore the inherent nature of material such as optics, reflectiveness, fluidity, fragility, transparency and opacity in glass as well as concept development. #materialstudy #air #optic #water #light #nature #sitespecific #story #investigation #process #discovery #goforawalk #lostandfoundinthewoods

Students will explore glass utilizing formal elements of line, shape and mass as sculptural vocabulary for the creation of personal forms of expression. Hot shop and cold shop skills and methods will align and broaden students’ ideas regarding glass as it relates to contemporary sculpture. Exposure to a variety of materials and processes will enable students to make models and complete sculptures from large-scale outdoor works to small intimate objects. Site specific, exhibition, documentation, portfolio development and representation concerns will be addressed.

B / ALL LEVELS

A / INTERMEDIATE

H I R O M I TA K I Z A W A

Hiromi Takizawa was born and raised in Nagano, Japan, and currently lives in Southern California. Curiosity, experimentation, narrative and materiality are core concepts in her work. Takizawa has exhibited nationally and internationally, including solo exhibitions at Heller Gallery and Urban Glass in New York, and group exhibitions in Ohio, Michigan, Virginia and Bergen, Norway. She received an MFA from Virginia Commonwealth University and is currently an associate professor in glass at California State University, Fullerton.

PAT R I C K N I C K E LL R O B ST E R N

Patrick Nickell’s work is made of simple materials that are easily found in a hardware store. In 2014, Nickell received a John Simon Guggenheim Memorial Foundation Fellowship. He is currently represented by Rosamund Felsen Gallery. Rob Stern’s broad artistic vision has allowed his bodies of work to navigate many realms, ranging from design and public commission to installation and sculpture. Based in Miami, Stern established Rob Stern Art Glass, Inc., in 2003.

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Session 2 Gaffers: Jason Christian and Daryl Smith 12


A CRASH COURSE IN MURRINI

I LLU M I N AT E D FA N TA S I E S

C A P T U R I N G T H E T R A N S I TO RY

Glassblowing, Design, Color Application, Cane, Murrini

Flameworking, Neon, Plasma

Kilncasting, Kiln Forming, Moldmaking, Mixed Media

In this course, students will get an introduction to the fun and complex world of murrini. Beginning in the Hot Shop, students will concentrate on honing basic skills like color overlays and pulling cane before adding complexity to their patterns with bundling. Students will examine different ways to add color while hot, including “painting on” color and stuff cups. While the concentration will be on making more and more intricate murrini, students will have time to put their patterns into various types of finished blown and solid objects.

Crank up your imaginations! All that daydreaming will pay off as students build narrative fantasies in illuminated glass. Whether Middle Earth elfin fairies, Sci-Fi battles amongst the stars or a personal mythic journey of the mind, we’ll create storyboards in illuminated flameworked glass. This course will combine making flameworked sculpture and a wide array of neon and plasma filling techniques to create unique fantasy based illuminated art. Many of the techniques covered will be taught for the first time anywhere in this groundbreaking course.

A / ALL LEVELS

A / INTERMEDIATE

Explore time, movement, vibration and other transient phenomena as catalysts for creating! From basic fusing and slumping processes to lost-wax casting and moldmaking techniques, both traditional and experimental methods will be covered. Students will observe the temporality of their surroundings and utilize glass and other mediums as methods of capturing or documenting transient experiences. Through a variety of demonstrations, experiments, discussions and problem-solving sessions, students will be encouraged to explore unfamiliar territory. B / ALL LEVELS

P E N E LO P E R A KO V

Penelope Rakov has been working with glass for twenty years and has her studio in beautiful Central New York. She began her formal arts education at Alfred University. After receiving her BFA in glass and ceramics, she was offered a nine-month residency in ceramics at Watershed Center for Ceramic Arts in Maine. Rakov went on to get her MFA at Tyler School of Art at Temple University. She has taught and worked in many glass studios since then. Rakov is best known for her murrini glass jewelry work.

CÉDRIC GINART

JEAN FERNANDES

W AY N E ST R AT T M A N

A S H L E Y M C FA R L A N D

Cédric Ginart currently works at the Montreal University as a scientific glassblower while pursuing a widely recognized artistic career. His collaborative work with Karina Guévin is shown worldwide. He has received awards by the Canadian and Québec Consul for the Arts. Dr. Wayne Strattman, author of the textbook Neon Techniques, is the world’s only PhD in the neon arts. His company, Strattman Design, is a leader in developing and making plasma displays. Self: Illuminated, a show of his work, was featured at Charles River Museum of Industry & Innovation.

Jean Fernandes is an international artist; born in India, raised in Dubai and California. She earned her BA in graphic design at San Jose State University, and her MFA in glass at University of Texas at Arlington. She has exhibited her art nationally and internationally. Ashley McFarland uses her background in psychology and art to create objects that speak as a whole through the interactions of individual parts. McFarland currently works at Pittsburgh Glass Center and teaches classes primarily in glass casting, kiln forming and coldworking.

A P P LY O N L I N E AT P I L C H U C K . C O M

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SESSION

3 METRICS

JUNE 19–30

BAG O’ TRICKS

Glassblowing, Hot Sculpting, Assembly, Cane, Murrini This course will focus on multiple glassworking techniques, from classical to cutting edge. Students will experience traditional and non-traditional glassblowing and hot-sculpting processes including cane, murrini, mold blowing, blown and solid sculpting, large-scale work, graal blanks, using the hot torch and garage and much more. Multiple color applications will be demonstrated daily. There will be a subtheme of contemporary glass history and Pilchuck’s role within it that is also covered in class. Teamwork and collaboration will be encouraged. Come with an open mind and it will be blown.

C O LO R I N G I N T H E F U N D A M E N TA LS

Glassblowing, Design, Color In this course, students will focus on the fundamentals of glassblowing, delving into a deeper understanding of form and color application. Starting simple, projects will grow in complexity as students develop and grow in skill. Working through functional forms such as cylinders, bowls, bottles and cones, students will develop and fine-tune techniques and foundations that they will be able to build on in the future. Demonstrations from instructors and visiting artists will help students to deepen their understanding of form, color and technique. B / ALL LEVELS

John Miller began working with glass in 1987 and later earned an MFA in sculpture at University of Illinois at Urbana-Champaign. Currently, Miller is an associate professor and head of the glass department at Illinois State University in BloomingtonNormal. He exhibits internationally and frequently tours the country lecturing and demonstrating with hot glass. Although he has experimented with many different techniques and materials, Miller’s focus is blown and hotworked glass sculpture.

HOW TO APPLY

Glassblowing, Hot Casting, Electroforming, Electronics, Mixed Media, 3-D Printing Expand your glass canvas with electroformed copper and electronic sensors for sculptural installations. Students will digitally prepare images and glasswork for sand carving and plating with copper, gold and silver. Combining glass and metal electrically, we will create electronic circuits for switches and motors, and for proximity and sound sensing. Students will have hot shop and 3-D print access to create glass and electric forms through hot sculpting and electrically conductive 3-D printing. Laptops required. B / ALL LEVELS

A / INTERMEDIATE

J O H N M I LL E R

T H E G L A S S E L E CT R I C : E L E CT R O F O R M I N G , C I R C U I TS & S E N S O R S

L E W I S B ATC H E L A R

V I CTO R I A B R A D B U RY

MADELINE PROWD

M A R K H U R ST Y

Lewis Batchelar and Madeline Prowd are based in Adelaide, Australia. Batchelar graduated from Wanganui Glass School, New Zealand, in 2012 before relocating to Australia for the associate training program at JamFactory. Lewis was a finalist/ exhibitor in Fuse Glass Prize, and the Young Glass Prize. Prowd graduated from ANU in 2009 before relocating for the program at JamFactory. Prowd received the Saxe award from Pilchuck Glass School in 2015.

Dr. Victoria Bradbury’s installations have re-presented historic witch trials by creating systems of guilt and innocence through code-mediated electronics and sensors. She has led art hacking events internationally and is assistant professor of new media at UNC Asheville. Mark Hursty applies digital manufacture and process abstraction to molten glass and installation works. He is a Fulbright Fellow who received his PhD from National Glass Centre at University of Sunderland, and is a lecturer at UNC Asheville.

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Session 3 Gaffers: Ben Edols and Dante Marioni 14


S O YO U W A N T TO M A K E TA M A L E S

D I G I TA L C L AYG R O U N D 2 .0

GLASSOGRAPHY

Flameworking, Lathe, Design

Mold Blowing, Kilncasting, 3-D Scanning, Modeling, Printing

Writing, Conversation, Public Reading

From philosophy to concept to design we will focus on the importance of preparation, research and thought. We will be spending as much (or more) time off the torch as on, reinforcing a different approach. Instructors will bounce back and forth between lathe and bench techniques to demonstrate the power of both. Daily demos, nightly group discussions and critiques will make this class a different beast than you may be used to. Be ready to think, watch and question. You will leave with an understanding of the process and material that few possess in modern flameworking.

Using the 3-D Potterbot clay printer and BotLab, this course will introduce students to processes of creating glasswork through digital modeling and materials exploration. Projects will include 3-D scanning, basic modeling in Rhino and other software, as well as printing in clay and PLA. Resulting forms will prompt investigations in the Hot Shop and Kiln Studio. Students can use a trial version of Rhino software and will receive a discount if they choose to purchase it. A laptop is required. B / ALL LEVELS

This course is dedicated to making observations about glass through various writing experiences. Motivated to develop a broader conversation about the landscape of contemporary glass, students will examine the many fascinating nuances related to glass materiality, glass culture, our community and issues related to the field in general. Through short writing exercises, lectures, group activities, writing projects and public readings of our work, this course will serve as a means to convey information, exchange ideas and make insightful discoveries. NO FEE / ALL LEVELS

A / INTERMEDIATE/ADVANCED

R E B E C C A A R D AY M I C A H E VA N S

BARRAK DARWEESH

ST E P H A N P E I R C E

PHIRAK SUON

Micah Evans is a glass artist originally from Washington State, now based in Austin, Texas. Recently, Evans finished a three-year residency in glass at Penland School of Crafts developing the two sides of his work, a balance of personal sculpture and traditional craft objects. Stephan Peirce is a selftaught flameworker and lathe worker based in Austin, Texas. For the past five years he has focused mainly on lathe work and using the flexibility of his skill set at the bench to bring color and traditional hand skills to objects made on the lathe.

Rebecca Arday is an artist/educator living in Rochester, New York. Her artwork is rooted in the poetic ability of objects and utilizes a variety of traditional and emerging technologies. Barrak Darweesh is an architect/ designer interested in design as research and physical storytelling through technology, computation and fabrication. Phirak Suon is a designer working in Seattle. He has a background in art, architecture and digital fabrication. His work explores the intersection between materials, digital and traditional handcraft.

D AV I D S C H N U C K E L

David Schnuckel’s work exhibits internationally and is in the permanent collections of GlazenHuis, Glasmuseet Ebeltoft, and Museum of American Glass. He has taught at Alfred University, Toyama Institute of Glass Art, Studio at Corning Museum of Glass and Penland School of Crafts. As a writer, Schnuckel maintains a blog that examines his glass and teaching practice entitled David Schnuckel Uses His Words and is a contributor to GASnews. He is currently a lecturer of glass at Rochester Institute of Technology.

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SESSION

4 METHOD

J U LY 8 –2 5

D E P T H I N T H E S U R FA C E

WITHIN THE BUBBLE

Glassblowing, Coldworking, Engraving, Cane, Murrini, Color Application, Printmaking

Glassblowing, Hot Sculpting

Students with an affinity for color, pattern and texture will utilize traditional Venetian decorative techniques in contemporary ways. Glassblowing demonstrations will address pulling and using cane and murrini, Swedish overlay and encalmo. In the Cold Shop, students will use the lathe for cameo, graal engraving and batutto. While exploring various color applications and techniques, students will be encouraged to reinvent the relationships between form, patterning and finish; adding complexity and depth to their objects.

Come and be immersed in studies of function, design and technical problem solving! In this course, students will focus on unique techniques and approaches to solid and blown sculpting from within the bubble. Throughout the session, there will be an emphasis on the freedom to explore both process and the potential of the material. Students will learn to mix and match glassblowing and hot-sculpting techniques to realize their vision, as well as learning bit work and how to use various torches and the garage. A / INTERMEDIATE/ADVANCED

A / ALL LEVELS

JIMMY ANDEREGG

Drawing inspiration from the organic nature of spontaneity, Jimmy Anderegg’s work merges the splendor of Venetian glass techniques with a design sensibility for the wild and exotic. His sculpture integrates a laborious layering of colored elements that undergo an equally laborious carving process; finished compositions reveal lively interior and exterior relationships. Anderegg was first introduced to glass in 2001, and has lived and conducted his work in the Seattle metropolitan area ever since.

MARTIN JANECKÝ

Martin Janecký began working with glass at the age of thirteen at his father’s factory in the Czech Republic. In 2003, Janecký made his first trip to the United States. While working for other artists he was able to add to his already well-developed skill set and knowledge of the material. He has been a visiting artist and instructor at various glass programs in the United States and internationally. Janecký is considered to be one of the best glass sculptors working today, and is represented in galleries and museums worldwide.

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Session 4 Gaffers: DH McNabb and Morgan Peterson 16


ADAPTABLE

V I T R I O U S I LLU M I N AT I O N

Moldmaking, Glassblowing, Hot Casting, 3-D Modeling, Scanning, CNC, 3-D Printing

Neon, Glassblowing, Light, Design, Installation

Bridging the gap between new digital technologies and traditional glassmaking, this class will move between a diverse set of tools and resources, engaging in both blowing and casting techniques. Conceptually, students will investigate multiple approaches in looking at and exploring the surface of glass as a skin. Students will design and make tools such as molds and glass prunts through digital and analog methods. No prior digital experience is required. This class will allow students the time and space to explore and develop new practices and ideas through a collaborative environment.

Designed for the artist interested in the potential of glass and illumination, this course will focus on light and its relationship with glass. Investigate the potential of glass to diffuse, magnify and alter the color of light. Light sources such as candlelight, LED, incandescent and neon will be considered for their individual, unique qualities of light. The class will involve significant time in the neon studio where we will start with the basics of standard neon tube production. Students will work in the Hot Shop to produce 3-D glass sketches with the specific goal of manipulating light. A / ALL LEVELS

Daniel Cutrone is an artist living and working in Philadelphia. He recently left academia where he taught glass for nearly twenty years for the private sector. His recent work employs digital techniques as a means of exploring new content. He has received a number of prestigious awards and grants and his work is in private and public collections. He was a Fellowship recipient from Creative Glass Center of America at Wheaton Arts as well as an Artist Grant Recipient from Pennsylvania Council on the Arts.

Kiln Forming, Printmaking, Imagery, Mixed Media, Coldworking, Experimentation Students will explore methods of creative practice and develop individualized approaches to processes through focused experimentation in this course. Students will fine-tune ways to making through careful observation and individualized methodology. Techniques include digital and analog 2-D image creation, screen printing and lithographic transfer processes using glass powders and vitreous enamels. Field research, daily assignments, readings and discussions will support each student’s creative goals. B / ALL LEVELS

B / ALL LEVELS

DANIEL CUTRONE

3

M | METHODS, MATERIALITY & MAKING

JEREMY BERT

CARRIE IVERSON

JEN ELEK

JEREMY SCIDMORE

Jeremy Bert is a mixed-media conceptual artist, licensed sign electrician and neon-tube bender. Bert owns and operates Jeremy Bert Neon in Seattle. Jen Elek is a studio artist/educator working in Seattle glass shops for over twenty years. Elek combines traditional glassblowing techniques and innovative processes to create her sculptural work. Elek travels internationally teaching, and exhibits her work locally and abroad. Bert and Elek met while attending Alfred University, and they maintain a multi-material studio.

Interdisciplinary artists Carrie Iverson and Jeremy Scidmore currently focus on creating site responsive installations. Previous projects have incorporated glass, print, neon, sound and found objects. Iverson received her BA from Yale University and her MFA from The School of the Art Institute of Chicago. Scidmore received his BA from Art Institute of Chicago, and returned there to study arts administration and policy. They maintain a studio in Lyle, Washington, and teach and exhibit internationally.

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SESSION

5 ARCHETYPE

J U LY 3 0 – A U G 1 6

HOW TO APPLY

TR A N S C E N D I N G TRA D ITION

ATELIER DE UTSUSHI

Glassblowing, Cane, Murrini, Teamwork, Installation

Glassblowing, Experimentation, Installation

Teamwork and passion are the pillars of Muranese glassblowing traditions. Working alongside master glassblowers, students will explore traditional production techniques. The style of “volta”—the steps a team takes to complete a piece—will be at the core of this class. With their guidance students will explore and experiment to deconstruct and reinvent Muranese archetypes such as the Venetian chandelier, working to redesign and refabricate these archetypes into a collective piece and installation.

This course will focus on designing work utilizing characteristics of glass in an atelier-type setting. Examine manifestations of glass from past and present, editing processes associated with the translation of ideas from sketch to finish and focus on refining craftsmanship. We will make standalone objects, mass multiples for installations and play with possible “changes of state” in regards to how objects are functioning. In addition to making their own works, students will experiment, work in teams and replicate daily demonstrations to gain firsthand experience that directly informs the evolution of their own voice and studio practice.

A / INTERMEDIATE

A / ALL LEVELS

R O B E R TO B E LT R A M I

JIN HONGO

M AT T E O TA G L I A P I E T R A

ROBERT LEWIS

Roberto Beltrami has worked with some of the best Murano glassmakers in his career. In 2015 he became the first and only glass master under the age of thirty-five chosen to teach at Abate Zanetti in Murano. Matteo Tagliapietra was born in Venice in 1973. He earned the position of glass master at just twenty-one years of age. In 2015 he started his own factory, Gambaro e Tagliapietra. Both Maestri have given significant support for Pilchuck’s Murano scholarship.

Jin Hongo is a head professor at Toyama City Institute of Glass Art (TIGA), which was the first public art school in Japan to specialize in glass. His mixed-media approach to sculpture is fueled by the excitement of discovery and invention. Robert Lewis is a mixed-media artist that received his MFA from the Ohio State University. He was an Associate Professor at Toyama City Institute of Glass in Japan. Since 2012, he has been a Sessional Professor in Glass at the Alberta College of Art & Design in Canada.

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Session 5 Gaffers: Joe Grant and Kazuki Takizawa 18


T H R E E E A SY P I E C E S

O U TS I D E T H E B E N C H

Equipment, Design, Fabrication

Flameworking, Lathe, Installation

In this unique course, students will work in teams to design and build three key pieces of hot-shop equipment; the free-standing pot furnace, the annealer and the glory hole. These will be simple, small designs and at the end of the class the completed equipment will go to a sponsor hotshop. Our focus will be on glass equipment design, combustion systems, electrical controls and safety. This class is a great opportunity for hot-shop technicians and people interested in building and improving their own equipment.

In this course, students should prepare to change how they think about flameworking with this team driven, hands-on class. First, students will learn about project planning, heat control and flameworking basics in a classroom setting. Then they should plan to expand any previous flameworking experience they may have by moving away from the bench to tackle a large-scale project with full student participation. A / INTERMEDIATE /ADVANCED

A / ALL LEVELS

F R I T D E V E R R E | H OT P R I N T I N G ON GLASS

Kiln Forming, Imagery, Pâte de Verre, Experimentation Students will explore a specific kilnforming and pâte de verre process based on the principles of intaglio printing. Focusing on the themes of imitation and illusion, students will delve into the aesthetic qualities and sculptural possibilities of this process. A variety of moldmaking materials will result in direct transfer of drawings, hand-written text and structures from a mold onto glass. Students will create flat molds as printing plates onto which they will fuse glass frit made in the hot shop and powders before moving into three dimensions by manipulating the glass during the firing. B / ALL LEVELS

FRED METZ

The founder of Spiral Arts, Fred Metz has been designing and building tools and equipment for the hot shop since 1993. Spiral Arts has been the principal hot-shop and equipment designer for Corning Museum of Glass in Corning, New York. Metz holds several equipment patents and has a reputation for producing top quality gear for studio glass artists.

HAMM VITRIFEX

Hamm Vitrifex is an Oregon glass artist with over twenty years of flameworking and glass lathe experience. He is known for his ongoing innovations in functional design and flameworking techniques. His work bridges the gap between the functional underground of the glass world and the elegance of modern design.

ANNE PETTERS

Anne Petters was born in 1978 in Dresden, Germany. Petters received a diploma in Fine Arts from the Institute for Ceramics and Glass Art, Germany and an MFA from Alfred University, New York. She uses glass and other materials, including natural phenomena, in a poetic and metaphoric way. Petters works and teaches internationally, and is currently at City and Guilds of London Art School.

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SESSION

6 CORPOREAL

AUG 20–31

HOW TO APPLY

I M A G E RY A N D F O R M

THE CABINET OF CURIOSITIES

Glassblowing, Enamel Painting, Imagery

Glassblowing, Color, Design, Assembly

This course will combine the use of vitreous enamels and surface design with the blown form. Students will begin by working with form and discussing its relationship to the imagery students envision. Students will mix and work with enamels to begin painting forms created in the Hot Shop. Each day students will be back in the Hot Shop working with new forms and firing their enamel work. The session will be enhanced by the presence of several visiting artists whose work relates to the narrative approach explored throughout this course

With an emphasis on collaborative experiments, explorations and adventures, students will be encouraged to break down pre-existing barriers to come up with individualistic ways of working. Seeking inspiration from deep within, as well as from the surrounding environment, the class will investigate texture, color, form and content with the intent of creating original objects to form a personal narrative. All participants will learn from each other and work towards a shared goal of creating a contemporary cabinet of curiosities filled with the wondrous objects created together.

B / ALL LEVELS

B / INTERMEDIATE

D AV I D W A LT E R S

David Walters received his BFA from Rhode Island School of Design and has taken part in residencies and programs across the country. Walters began working as a gaffer for Dale Chihuly in 1993, and as an assistant to Lino Tagliapietra in 1995. He has worked around the world with both Chihuly and Tagliapietra, and continues to support their work. Walters is currently represented by William Traver Gallery, Dena Rigby Fine Art and Schantz Galleries, and has shown his work extensively, including at Museum of Glass in Tacoma, Washington.

LAURA DONEFER JEFF MACK

Laura Donefer is an award-winning artist who pushes the boundaries with work that explores ideas concerning memory, assault, bereavement, joy and madness. Every few years Donefer organizes one of her exuberant Glass Fashion Shows. Jeff Mack is an artist, craftsman and educator who has been working with glass for over twenty years. His work is rooted in personal expression through craft and has touched on many aspects of the material ranging from intimate vessels and sculpture to public artworks.

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Session 6 Gaffers: Deborah Adler and Courtney Branam 20


FROM THE FURNACE TO T H E F L A M E

Glassblowing, Hot-Glass Sculpting, Flameworking, Assembly Capturing the smallest details in glass can open the door to a whole new world. Students will learn various hot-sculpting techniques both in the hot-shop and flameworking studios. This course will cover inside sculpting to solid sculpting, texture techniques, garage work, color application and ways to combine both flameworking and hot-shop techniques seamlessly in the studio. Come ready to be jolted with energy and new found passion that will bring life to both you and your work.

A S S E M B L I N G T H E PA R TS

N E W F O OT P R I N TS I N G L A S S

Flameworking, Lathe, Sound, History

Kilncasting, Hot Casting, 3-D Modeling, Scanning & Printing, CNC

Using both lathe and bench techniques we will merge scientific glassblowing with artistic glass. This class will cover ring, straight, blind and dewar seals, plus many other scientific glass techniques. We will be working with, exploring and understanding different types of glass and how they are used, as well as how they sound and react to light. History of scientific glassblowing and lampworking will be covered. Experimentation with a combination of techniques will be encouraged. A / ALL LEVELS

B / ALL LEVELS

A / ALL LEVELS

ERIN GARMEZY GRANT GARMEZY

Erin and Grant Garmezy met while studying glass at Virginia Commonwealth University. Grant concentrates on creating realistic animal sculptures, combining various hot-sculpting techniques while Erin works primarily on the torch, creating realistic and delicate plant life. Grant and Erin live and work in Richmond, Virginia. Their collaborations have received national recognition and have led to international travel to teach their collaborative process. Both artists are impassioned by sharing their knowledge with students.

Unifying physical/digital (digical) approaches to making, this class ambitiously fast tracks to the embodiment of an innovative range of forms and skin-like surfaces, exploring and expanding the ‘digical footprint’ in glass. Hot and cold scanning and CAD will be used to capture and develop 3-D imagery. 3-D printing, CNC and moldmaking will physicalize this digital information into makeable forms. Hot, cold, kiln and construction processes will translate physical form into tactile glass.

S A LLY P R A S C H

Sally Prasch is perhaps the perfect blend of advanced technical skill and intuitive creativity. Her background is in both scientific glassblowing and fine art. She began her career at the age of thirteen apprenticing for Lloyd Moore and continued her education receiving a BFA in ceramics and glass, a degree in applied science and a certificate in scientific glass technology. Prasch teaches and shows her work throughout the world.

YO AV R E C H E S ANGELA THWAITES

Yoav Reches’ work investigates the links between human needs, technology and material culture. His work fuses traditional and digital fabrication and spans across product design, furniture, ceramics, glass, sculpture and performance. Angela Thwaites is an artist, researcher, author and educator based in London, and has more than thirty years’ experience in glass. Thwaites gained her BA (Hons) in the UK and received scholarships to study in Prague where she was a student of Stanislav Libensky at the Academy of Applied Arts.

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FALL Fall Program courses are a new alternative to the longer Summer Program. They offer shorter one-week courses on campus with equal immersion and focus, while operating at a different pace. The number of students on campus is smaller than in the Summer Program, and campus events are minimalized for a quieter, more contemplative environment. The Fall Program courses this year include glassblowing, flameworking, glass painting and enameling, as well as a hybrid printmaking course. The Fall Program is a dynamic and fulfilling way to end the summer and welcome in the fall.

S E P T 1 0 –1 5

E L E M E N TA L G L A S S B LO W I N G

Glassblowing Fire, water, air, steel, paper and glass are elements common to the hot shop as well as what students will use in this introductory course to glassblowing. Students will learn the tools and techniques involved in most basic forms of blown glass. With daily demonstrations and plenty of handson practice, students will develop both mind and body as they draw, design and execute works of art and functional crafted pieces in this fun and stress-free workshop. B / ALL LEVELS

ED SCHMID

An American master glassblower, Ed Schmid has been living the dream and working with molten glass since 1984. He is also the guy that literally wrote the book on glassblowing; namely the world’s best-selling texts on how to do it: Beginning Glassblowing and Advanced Glassblowing Techniques. Schmid also teaches at his studio in the Pacific Northwest as well as giving classes and workshops worldwide. His work can be found in several museums and major collections around the globe.

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THE EXQUISITE BRIDGE

Flameworking, Sculpture Beginning with the basics, this course will purposefully wander through a variety of flameworking techniques to cement the knowledge necessary to build detailed structures in borosilicate. Students will focus on building, constructing and bridging (making a temporary scaffold to hold things in place). This course will cover strategies for simple moving parts such as hinges and swivels, as well as covering methods for transferring scale drawings using compasses and straightedges onto glass. A / ALL LEVELS

A E S O P ’ S FA B L E S I N STA I N E D GLASS

Stained Glass, Painting, Imagery, Life Skills In this intense five-day course, students will focus on developing strong concepts in their work, ultimately resulting in a stained-glass window based on one of Aesop’s fables. Students will explore hand-illustration processes on glass, including painting, air brushing, ‘pen-and-ink drawing’ and using kiln-fired enamel paints. Cutting, copper foiling and soldering will also be covered in the class, as well as demonstrations on lighting and framing finished pieces. Worksheets will be used to help students better focus on their work, life and future.

S C R ATC H I N G T H E S U R FA C E

Printmaking, Coldworking, Laser Engraving, Imagery, 3-D Printing Combining flat glass and paper under pressure, this course will cover the subtleties of glass-plate printmaking while utilizing new technologies in glass etching. Demonstrations covering digital and physical techniques will take place in the Print Studio, BotLab and Cold Shop as students combine processing to discover new possibilities in mark making. The marked glass plates will act as shallow molds for paper while students work towards finalized prints by the end of the workshop. B / ALL LEVELS

A / ALL LEVELS

K I T PA U LS O N

Having received her BFA from Alfred University and her MFA from Southern Illinois University, Kit Paulson’s work draws on the implications of ornament, material-culture histories and objects that can be worn/inhabited/enacted. Her work incorporates traditional ballads with stop-motion video, equating handwork with the build-up of time. She has taught workshops around the US and completed various residencies including the Rosenburg Residency in Salem, Massachusetts and at Museum of Glass, Tacoma.

J O S E P H C AVA L I E R I

Joseph Cavalieri is an award-winning native New York artist and educator. He has taught extensively in the US and internationally. He was invited to be the keynote speaker for the Glass Society of Ireland in 2015. His work is in permanent collection of Museum of Arts and Design, Italian American Museum, Leslie-Lohman Museum, Stax Museum, and in the collections of Simpson’s writers in Los Angeles and of movie director Morgan Spurlock. He has collaborated with illustrator Robert Crumb.

HANNAH SMITH

Hannah Marie Smith’s studio practice combines printmaking and technology to explore visual complexity and notions of understanding. Introduced to glass through vitreography, Smith has spent the last three summers managing the Print Shop at Pilchuck Glass School where she works with artists in residence in the production of prints for their permanent collection. Living in Boston, Massachusetts, Smith is exhibiting and teaching workshops nationally.

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2018 SUMMER PROGRAM

1

M AY 1 4 –2 5 F O R M + F U N CT I O N

MARTIN ŠTEFÁNEK

Sculptural Beakers Glassblowing, Hot-Glass Sculpting A / INTERMEDIATE/ADVANCED DEVIN BURGESS

A Playful Banter Glassblowing, Design, Color Application B / ALL LEVELS JEFF BALLARD & BRENT ROGERS

Blurred Lines Glassblowing, Flameworking, Lathe, Design A / ALL LEVELS DISK

Pattern Lab Flameworking, Pattern A / INTERMEDIATE/ADVANCED CORTNEY BOYD & ADAM COHEN

Building Positives Moldmaking, Kilncasting, Glassblowing, Hot Casting A / ALL LEVELS BEN BERES

Vitreography and the Multiple Printmaking, Imagery, Sandblasting, Experimentation C / ALL LEVELS

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2

M AY 2 9 – J U N E 1 5 EPHEMERAL

3

JUNE 19–30 METRICS

HIROMI TAKIZAWA

JOHN MILLER

A Longing Gaze

Bag O’Tricks Glassblowing, Hot Sculpting, Assembly, Cane, Murrini A / INTERMEDIATE

Glassblowing, Optics, Installation, Experimentation B / ALL LEVELS

LEWIS BATCHELAR & MADELINE PROWD PATRICK NICKELL & ROB STERN

Balancing Act Glassblowing, Hot-Glass Sculpting, Sculpture A / INTERMEDIATE

PENELOPE RAKOV

A Crash Course in Murrini Glassblowing, Design, Color Application, Cane, Murrini A / ALL LEVELS

CÉDRIC GINART & WAYNE STRAT TMAN

Illuminated Fantasies Flameworking, Neon, Plasma A / INTERMEDIATE

JEAN FERNANDES & ASHLEY MCFARLAND

Coloring in the Fundamentals Glassblowing, Design, Color B / ALL LEVELS VICTORIA BRADBURY & MARK HURSTY

The Glass Electric Glassblowing, Hot Casting, Electroforming, Electronics, Mixed Media, 3-D Printing A / ALL LEVELS MICAH EVANS & STEPHAN PEIRCE

So You Want to Make Tamales Flameworking, Lathe, Design A / INTERMEDIATE/ADVANCED REBECCA ARDAY, BARRAK DARWEESH & PHIRAK SUON

Digital Clayground 2.0 Mold Blowing, Kilncasting, 3-D Scanning, Modeling, Printing B / ALL LEVELS

Capturing the Transitory Kilncasting, Kiln Forming, Moldmaking, Mixed Media B / ALL LEVELS

D AV I D S C H N U C K E L

ARTISTS IN RESIDENCE

ARTISTS IN RESIDENCE

ARTISTS IN RESIDENCE

Anthony Dunne Fiona Raby

Leigh Claire La Berge Caroline Woolard

Ho-Wan-Ut “Haila” Old Peter John Torreano

GAFFERS

GAFFERS

GAFFERS

Danielle Brensinger Patricia Davidson

Jason Christian Daryl Smith

Ben Edols Dante Marioni

Glassography Writing, Conversation, Public Reading NO FEE / ALL LEVELS


PILCHUCK.COM

A P P L I C AT I O N D E A D L I N E S JAN 9

Emerging Artist in Residence (EAiR)

FEB 1 Scholarship, Teaching Assistants, & Artist Assistants

4

J U LY 8 –2 5 METHOD

JIMMY ANDEREGG

Depth in the Surface Glassblowing, Coldworking, Engraving, Cane, Murrini, Color Application, Printmaking A / ALL LEVELS

FEB 1

Summer Staff

OCT 26

John H. Hauberg Fellowship

5

J U LY 3 0 – A U G U ST 1 6 ARCHETYPE

ROBERTO BELTRAMI & MAT TEO TAGLIAPIETRA

Transcending Tradition Glassblowing, Cane, Murrini, Teamwork, Installation A / INTERMEDIATE

DANIEL CUTRONE

Adaptable Moldmaking, Glassblowing, Hot Casting, 3-D Modeling, Scanning, CNC, 3-D Printing B / ALL LEVELS

CORPOREAL

DAVID WALTERS

Imagery and Form Glassblowing, Enamel Painting, Imagery B / ALL LEVELS

LAURA DONEFER & JEFF MACK

MARTIN JANECKÝ

Within the Bubble Glassblowing, Hot Sculpting A / INTERMEDIATE/ADVANCED

6

A U G U ST 2 0 – 3 1

JIN HONGO & ROBERT LEWIS

Atelier de Utsushi Glassblowing, Experimentation, Installation A / ALL LEVELS

The Cabinet of Curiosities Glassblowing, Color, Design, Assembly B / INTERMEDIATE

ERIN GARMEZY & GRANT GARMEZY FRED METZ

Three Easy Pieces Equipment, Design, Fabrication A / ALL LEVELS

From the Furnace to the Flame Glassblowing, Hot-Glass Sculpting, Flameworking, Assembly A / ALL LEVELS

JEREMY BERT & JEN ELEK

Vitrious Illumination Neon, Glassblowing, Light, Design, Installation A / ALL LEVELS

HAMM VITRIFEX

Outside the Bench Flameworking, Lathe, Installation A / INTERMEDIATE/ADVANCED

CARRIE IVERSON & JEREMY SCIDMORE

SALLY PRASCH

Assembling the Parts Flameworking, Lathe, Sound, History A / ALL LEVELS

ANNE PETTERS

YOAV RECHES & ANGELA THWAITES

Frit de Verre | Hot Printing on Glass Kiln Forming, Imagery, Pâte de Verre, Experimentation B / ALL LEVELS

New Footprints in Glass Kilncasting, Hot Casting, 3-D Modeling, Scanning & Printing, CNC B / ALL LEVELS

ARTISTS IN RESIDENCE

ARTISTS IN RESIDENCE

ARTISTS IN RESIDENCE

Leo Berk Laura de Santillana

Tanya Aguiñiga Reilly Donovan

Damien Davis Tip Toland

GAFFERS

GAFFERS

GAFFERS

DH McNabb Morgan Peterson

Joe Grant Kazuki Takizawa

Deborah Adler Courtney Branam

M3 | Methods, Materiality & Making Kiln Forming, Printmaking, Imagery, Mixed Media, Coldworking, Experimentation B / ALL LEVELS

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OPPORTUNITIES T E A C H I N G & A R T I ST A S S I STA N TS H I P S

Pilchuck Teaching Assistants (TAs) and Artist Assistants (AAs) play essential roles in the Summer Program by supporting the vision and goals of instructors and artists in residence. TAs ensure a smooth and successful educational experience for instructors and students. Each instructor will be aided by one or two TAs, depending on the studios used and class size. TAs should be well versed in the techniques related to the course for which they are applying. It is helpful, although not necessary, for TAs to have previous experience at Pilchuck. AAs support the creative efforts of the artists in residence, who often have little or no experience working with glass. An AA helps the artist understand the fundamentals of glassworking and acts as a technical resource for the translation of ideas. All AAs must have extensive studio experience in various processes, an interest in collaboration, project management skills and previous experience at Pilchuck. In addition to gaining valuable studio experience, TAs and AAs receive housing, meals, a $50 store credit and travel reimbursement (60% for TAs; 100% for AAs; restrictions apply). Visit pilchuck.com for application instructions. Applications Due: February 1, 2018 S U M M E R STA F F

Summer Staff provide integral support to Pilchuck’s educational program and ensure that the campus runs smoothly. Summer Staff is comprised of artists or art-interested individuals who dedicate time and energy to make the educational experience productive for all participants and host events to bring the campus together. Through this experience, Summer Staff gain valuable professional skills, develop a network of peers, sit in on artist talks, learn new glassworking techniques, engage with instructors and artists in residence and have studio access. This is not work study or a tuition assistance program, Summer Staff are fully active during the session in a unique way. Summer Staff opportunities are diverse and fall into two categories: Coordinators and Campus Assistants— which one you apply for is based on your interest, skillset and experience. All candidates must have excellent communication skills, ability to follow through with the expectations of the roles applied for and the readiness to be flexible based on program needs. Visit pilchuck.com for detailed information about each Summer Staff role and application instructions. Applications Due: February 1, 2018

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A P P L I C AT I O N I N F O R M AT I O N H O W TO A P P LY

H O U S I N G & M E A LS

Apply for all courses, scholarships and assistantships with our online application form.

A sense of community is integral to the spirit of campus life. All program participants live on campus for the duration of the session. No single, private rooms or private baths are available. All-Gender Restrooms are indicated on campus.

• Only one application form and one nonrefundable US$50 application fee are needed to apply each year. • Student applications received prior to midnight (PST) February 1 are entered into a lottery. Applications received afterward will be considered on a first-come, first-served basis for remaining openings. • Scholarships and assistantship applications are due before midnight (PST) February 1. • You must be at least eighteen years of age by the first day of the session for which you are registered. E X P E R I E N C E L E V E LS

Course levels are listed with each course description: • I ntroductory: 0–1 years of frequent practice in the technique(s) listed • I ntermediate: 2–4 years of frequent practice in the technique(s) listed •A dvanced: 5+ years frequent practice in the technique(s) listed •A ll Levels: Encompasses all of the above; all are welcome FEES

Program fees cover instruction, shared dormitory housing, meals and basic supplies. Utility fees offset the cost of energy used in studios; fees are indicated by A, B or C at the end of the course description. A housing upgrade is optional with an additional fee. A payment plan request may be arranged. TOTA L F E E S : Program Fee + Utility Fee S U M M E R P R O G R A M F E E : US $3,690 per course sessions 2, 4, 5

US $2,610 per course sessions 1, 3, 6 US $1,620 per print course sessions 1 US $1,500 per writing course session 3

U T I L I T Y F E E : A = $410 B = $310 C = $210 FA LL P R O G R A M F E E :

US $1,620 per course US $1,000 per print course

U T I L I T Y F E E : A = $310 B = $210 C = $110

• Dormitory Housing consists of a doubleoccupancy room with access to central restrooms for males and females. • Cottage Housing is an upgrade available for an additional fee, consisting of two doubleoccupancy rooms and a bathroom shared by the four residents. Cottages offer more space, greater privacy, and closer proximity to studios. Requests may exceed availability, and placement is not guaranteed. All session participants dine together. Course fees include three meals a day during the week, and two meals a day on weekends. Dietary restrictions can be accommodated with prior notice. SCHOLARSHIPS

Refer to page five (5) for Special Scholarship information. C O LL E G E C R E D I T

Pilchuck courses are eligible for three undergraduate college credits through Cornish College of the Arts in Seattle. An additional fee (US$330; subject to change) is paid to Cornish in advance of the session to receive credit. A passing grade is transcripted with a grade notation of “CR” for “Credit”. Students need to consult their institution in advance to make sure credits are transferrable. I N T E R N AT I O N A L PA R T I C I PA N TS

International participants may travel to the United States as a visitor in order to participate in the Summer and Fall programs. Upon acceptance, we can provide you with a letter that may help facilitate visa requirements at an embassy and with entry into the United States. Citizens of countries that participate in the Visa Waiver Program may not require a tourist visa for travel to Pilchuck. Visit travel.state.gov for more information. N E E D H E L P A P P LY I N G ?

Contact the registrar at 360.445.3111, ext. 29 or registrar@pilchuck.com. D I V E R S I T Y A N D I N C LU S I O N

Pilchuck is committed to its sense of community by welcoming everyone with respect and understanding towards gender, gender expression, age, race, national origin, disability, marital status, sexual orientation or military status in employment or in artistic or educational programs. As an organization that has welcomed artists, instructors, staff and students from over 70 countries with many different backgrounds, Pilchuck is passionate about creating an inclusive, open and supportive community that is accessible to all. We are proud of our history as a haven for creativity, transformation and individual expression. Pilchuck is deeply committed to continuing to build a supportive and diverse community around glass art.

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RESIDENCY PROGRAMS E M E R G I N G - A R T I ST- I N - R E S I D E N C E P R O G R A M

The EAiR program supports six artists who are making a transition in their professional lives. Whether moving from academia to a professional studio practice, taking up a new medium, or beginning a new body of work, this immersive residency is ideal for contemplation, research and experimentation. The program provides artists with the place and time to develop an idea or project in glass, with the potential for realizing a new body of work. The residency requires a project proposal and supports kilnworking, coldworking, printmaking, flameworking, woodworking, metalworking and use of mixed media, but not hot glassworking. No instruction is available, and some glassmaking experience is required. The program provides each artist with a stipend of US$1,000, open studio space, shared cooking facilities and a private room in a cottage with shared bath. Residents should expect to participate in communal clean-ups and be available to visitors, among other activities. Materials, food and travel reimbursement are not provided. Visit pilchuck.com for application instructions and the online application form. Residency Dates: September 17–November 9, 2018 Applications Due: January 9, 2018 J O H N H . H A U B E R G F E LLO W S H I P

Named for Pilchuck co-founder John H. Hauberg (1916–2002), the fellowship was established to encourage collaboration among a group of outstanding artists. Groups of up to six members are invited to submit proposals for utilizing the studios and campus environment for research and development of artwork based on a common theme or a collaborative project. Group members support one another, explore new working methods and engage in critical dialogue. Artists in all media as well as writers, engineers, art critics and curators are encouraged to apply; however, if the proposal includes use of glassmaking equipment, some members must have previous experience with Pilchuck’s facilities. Limited technical assistance is available. Open studio space and access to the Cold Shop, Mold & Kiln Shop, Print Shop and Wood and Metal Shop are provided. Hot glassworking is not available during this time. Hauberg Fellows are provided living accommodations, meals and limited supplies. Reimbursement for travel costs and honoraria are not provided. Visit pilchuck.com for application instructions and the online application form. Residency Dates: April 26–May 10, 2019 Applications Due: October 26, 2018 Q U E ST I O N S ?

Contact the registrar at 360.445.3111, ext. 29 or at registrar@pilchuck.com.

THA NK YO U TO O U R G E N E ROUS SPONSORS

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“ P ilchuck changed a lot of the ways I think. Thank you. It changed a lot of the ways that I approach matter. Thank you. It changed me—a bit—and that is a lot. Thank you.” Tobias Klein, Artist in Residence, Summer 2017

PH OTO C R EDI TS: : Alec Miller, Adam Gurvitch, Rob Schubel, Lindsey Ganahl, Frye Art Museum, Polly Manning, Russell Johnson D ESI G N : Studio Matthews, Carlos Esparza C OV E R I M AG E: Jay Macdonell


PILCHUCK GLASS SCHOOL

N O N P R O F I T.O R G

240 2N D AV E S, S U ITE 1 00

U. S. P O STAG E

SE AT T L E , WA 9 8 10 4

PA I D S E AT T L E , WA P E R M I T N O. 12 9 81

STANWOOD CAMPUS 1201 316TH ST. NW STANWOOD, WA 98292 PHONE: 360.445.3111 FAX: 360.445.5515 SEAT TLE OFFICE P H O NE : 20 6.62 1. 84 2 2 FA X : 20 6 .6 21.0 713 800.833.6388 TTY / ASCII 877.833.6341 SPEECH-TO-SPEECH

BE IMMERSED. BE INSPIRED. BE TRANSFORMED.

A P P LY O N L I N E BY F E B R U A RY 1, 2 0 1 8 F O R P R I O R I T Y P L A C E M E N T, S C H O L A R S H I P, TA , A A , & S U M M E R STA F F P O S I T I O N S .