2021 Program Catalog

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PILCHUCK GLASS SCHOOL 50 2021

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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

PROGRAMS 2021

T H E C R E AT I V E U S E O F G L A S S I N A R T A N D D E S I G N .

Greetings family of the now, future, and always, This year marks the 50th Anniversary of Pilchuck’s existence and as we all yearn to emerge from the isolation of this pandemic, our staff are eager to safely welcome artists and students back to campus. The extensive workshop program laid out in this catalog represents a road map of electrifying makers and catalytic thinkers that will launch us into to the next fifty years!

In June, we will start our birthday celebration with a recognition of our land and our region’s native history--coming together for The Gathering, a session that will help chart the future of Pilchuck’s mission to support contemporary and traditional Indigenous artists working in glass. Through classes focused on neon, image making, glassblowing, and sculpture techniques, students from all backgrounds will gather to develop and enrich their vocabulary of self-expression.

Through the summer, we will delve the depth of body, brain, and spirit for inspiration, subject matter, and technical innovation. From hyper-realistic portraiture to inspired technical innovation to poetic metaphor, our special sessions Corporis, Encephalon, and Animus will embrace artists whose practice is literally or figuratively grounded in these three nodes of creativity.

While welcoming a myriad of new voices from around the globe, our fiftieth summer pays special tribute to the contributions of makers from across Europe, whom since our founding have deeply influenced what and how Americans make glass. This theme culminates in the Cross-Currents: Europa session featuring some of the brightest and wisest glass designers and artists from across the continent.

Family Ties will continue the important work of my predecessor, Tina Aufiero, to make the Pilchuck campus and programs accessible and meaningful to artists with families.

For the first time ever, we will run a concurrent Kids Camp, creating a rare opportunity for parents to participate in the craft camp experience and a truly intergenerational learning environment.

We will culminate our year with two fall sessions packed with dynamic makers from across the long arc of our school’s history; blending the upcoming artistic talents and powerful established voices that will craft the field for years to come. The second fall session will conclude in a daylong campus Homecoming Party not to be missed.

We hope at some point in the year we can share an experience with each of you. Across the board, we are working with funders and partner organizations to offer many new scholarship and financial aid opportunities opening our programs to a wider, more diverse audience. While optimistic that we will be able to deliver our mission next year, we are not oblivious to all the uncertainty in the world. We are researching, learning daily from the experiences of our peer organizations, and developing many strategies to respond to a range of future conditions. This work now will allow us to stay flexible with our plans, communicate clearly with our audience, and provide the safest possible learning environment.

I can’t wait to see you all on the hill!

Cheers, Ben Wright

CELEBRATING 50 YEARS 1974

Harvey Littleton, father of the studio glass movement, visits Pilchuck.

1979 1975

Teaching Assistants introduced to help with the 24-hour schedule of the hot shop.

1976

The open-air Flat Shop is built and hosts the first stained glass class.

1971

Dale Chihuly and Ruth Tamura receive $2k grant from Union of Independent Colleges of Art for a glass workshop.

Chihuly meets John H. Hauberg and Anne Gould Hauberg and picks site for first Pilchuck Workshop on the Pilchuck Tree Farm.

First Pilchuck Auction is held in the Lodge and raises $9,000.

1980

Bertil Vallien comes from Sweden to teach sand casting for the first time.

First Board of Trustees are appointed.

1977

First European faculty arrive— Ann Wolff from Sweden, Ludwig Schaffrath from Germany.

1978

Lodge is completed and Checco Ongaro is the first Italian maestro invited to Pilchuck by Education Coordinator Benjamin Moore, followed by Maestro Lino Tagliapietra in 1979.

1973

The iconic Pilchuck Hot Shop is built, designed by Tom Bosworth.

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1981

10 th Annual Glass Art Society conference held in Seattle— now the new Mecca for glass.

1984

Ginny Ruffner teaches first flameworking course.

1985

Explosion of coldworking processes brought by the Czechs, including Jiri Harcuba.

Neon fabrication offered for the first time, taught by Fred Tschida.

1986

New Studio building and Cold Shop built.

Flora Mace and Joey Kirkpatrick hold first Student-to-Student auction.

1995

2016

2000

2017

25th Anniversary and reunion on campus, Pilchuck: A Glass School book by Tina Oldknow published the next year.

John H. Hauberg Fellowship group residency program begins.

2001

Co-Founder Anne Gould Hauberg passes and the “Sunnie Patch” is established and dedicated in her honor.

Pilchuck establishes new youth programming in partnership with Hilltop Artists.

Founders Totem Pole completed in honor of 30th Anniversary.

1989

Bill Morris takes on Education Coordinator position for three years.

1990

2002

Autonoma Program launches its first Pilchuck Murano Residency.

First five Emerging Artists in Residence live and work at Pilchuck in the fall.

Co-Founder John H. Hauberg passes, Inspiration Point bench sculpture is dedicated in his memory.

2018

Print programs established.

2006

2019

1993

Pike Powers is hired as Artistic Director.

1994

Trojan Horse is started by Hank Murta Adams and students and is completed in 1995.

Ruth King becomes Artistic Director after sharing role with Pike Powers for three years.

Indigenous Youth Program is launched under the guidance of Raya Friday and Dan Friday.

Ben Wright is hired as Artistic Director.

2012

Tina Aufiero is hired as Artistic Director.

2014

Pilchuck opens downtown Seattle Gallery.

2015

BotLab is established to encourage collaboration between glass and new technologies.

John Forsen directs Pilchuck: A Dance with Fire and wins 2016 Emmy for “Best Historical” Documentary.

2020

In the midst of global pandemic Pilchuck cancels programs for the first time ever.

2021

Pilchuck returns to celebrate 50th Anniversary!

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50TH ANNIVERSARY

5 0 T H A N N I V E R S A RY E V E N TS Mark Pilchuck Glass School’s 50th Anniversary by saving the date for upcoming events and celebrations throughout 2021!

SPRING TOURS May 12–15, 2021

Tour the scenic Pilchuck campus and explore its exciting history while watching artist demonstrations.

PILCHUCK CELEBRATES May 16, 2021

Pilchuck Celebrates is the annual tradition of bringing the school’s most ardent supporters together for a night of awards and celebration.

50TH LAUNCH PARTY May 16, 2021

Join us for a special evening gathering to kick off Pilchuck’s anniversary year in style!

HOMECOMING CELEBRATION September 19, 2021

Held on campus, enjoy a day with Pilchuck friends for this reunion experience packed with artist demonstrations, presentations, merriment, and more fun!

AUCTION & GALA October 16, 2021

Pilchuck’s Annual Auction is a premier art fundraising event supported by patrons, artists, and community leaders from around the world.

2021 PROGRAMS: SCHOLARSHIPS + FINANCIAL AID

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A P P LY F O R A S C H O L A R S H I P O R F I N A N C I A L A S S I STA N C E TO AT T E N D A 2 0 2 1 C O U R S E !

Pilchuck offers a variety of general and specialized scholarships and financial assistance, giving a wide range of opportunities for students to attend courses. Over one-third of students receive some type of scholarship, award, or financial assistance. Scholarship applications are due February 1, 2021.

M E R I T- B A S E D S C H O L A R S H I P S Scholarship applicants are scored and ranked based on artistic merit by an outside jury of arts professionals. This year, the jurors will be considering originality and inventiveness, aesthetic excellence, skillful and imaginative use of glass or other media, and visual clarity!

The images you submit with your application will make up the majority of your score. Every year a different panel of jurors is invited, so if you have applied before and not received a scholarship, we encourage you to apply again!

SPECIAL SCHOLARSHIPS While all scholarship applicants qualify for merit-based scholarships, you may also be eligible for a special scholarship if you are: • an international applicant, a citizen of Australia, New Zealand, Eastern Europe, Czech Republic, or China.

• a resident of New England (NH, MA, ME, RI, CT, VT), Arizona, or Los Angeles.

• a US citizen of African American, Hispanic American, Native American, or other minority heritage.

• an applicant for a flameworking course.

• a 2019 Summer Staff or Campus Assistant.

• a 2019 Corning Inc. Foundation or Saxe Award nominee.

• a nominee from a 2021 Partner Institution (see list online).

• an applicant working in digital technology.

N E E D - B A S E D F I N A N C I A L A S S I STA N C E Pilchuck offers need-based financial assistance to help emerging artists not selected in the merit process and to help bridge the gap for some partial scholarship recipients.

In order to apply for need-based financial assistance, please complete the application form by indicating the amount of tuition you are able to pay for a summer or fall course, along with a statement of need.

While Pilchuck will continue to consider need-based financial assistance after the February 1 scholarship and priority placement deadline, we encourage you to apply early, as it will be on a first-come, first-served basis.

We highly recommend that students in need of financial assistance apply for both a scholarship and for financial assistance so that we can do our best to meet your needs!

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PA RT N E R R ES I D E N C I ES APPLY FOR A SCHOLARSHIP TO BECOME ELIGIBLE FOR A UNIQUE PARTNER RESIDENCY Plichuck is excited to offer scholarship recipients the unique opportunity to be considered for a range of exciting Partner Residencies with organizations around the world. Once enrolled in their Pilchuck classes, the top-scoring applicants who express interest in each opportunity will be passed on to our partner organizations for final selection.

Details for each residency experience varies, but thanks to the generosity of our partners, each residency represents an opportunity to expand your work in a world-class studio in the most inspiring settings around the globe.

D U N C A N M C C L E LL A N ST U D I O H OT- G L A S S R E S I D E N CY Two top-ranking scholarship recipients will receive a hot-glass residency at Duncan McClellan Glass, St. Petersburg, Florida. dmglass.com K I L N F O R M I N G R E S I D E N CY One top-ranking scholarship recipient will receive a kiln-forming and coldworking residency at Duncan McClellan Glass, St. Petersburg, Florida.

Supported by Duncan McClellan Gallery. dmglass.com GENT GLAS One top-ranking scholarship recipent will receive a hotglass residency at Gent Glas, Ghent, Belgium. gentglas.com P I E R I N I V E R R E C O N T E M P O R A I N R E S I D E N CY One top-ranking scholarship recipient will receive a glassblowing residency at Biot, France. pierini-glassstudio.com S 1 2 O P E N A C C E S S ST U D I O A N D G A LL E RY One top-scoring scholarship recipient working in glass will receive a six-week residency at S12 Open Access Studio and Gallery in Bergen, Norway. s12.no Y U C C A VA LL E Y M AT E R I A L L A B K I L N F O R M I N G R E S I D E N CY One top-ranking scholarship recipient will receive a two-week kiln-forming residency in Yucca Valley, California. yvml.org Read more about each Partner Residency before indicating interest in the scholarship portion of the 2021 student application, details at pilchuck.org/partnerresidencies.

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ARTISTS@WORK Pilchuck Glass School was founded in 1971 by Dale Chihuly with 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 1970s, the original core values of the school endure and are voiced in the 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 from Gray Barn Studios: Jimmy Anderegg, Conor McClellan, and Megan Stelljes, who will display their latest creations and create new work live in the Hot Shop.

Spring Tours run from May 12-15, 2021. Visit our website to view tour times, purchase tickets, and join us this spring for our only open-campus event.

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2 0 2 1 A R T I S T S / C U R AT O R S I N R E S I D E N C E 2 0 2 1 A R T I STS I N R E S I D E N C E

SESSION 1

Every summer 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, innovative artists working in the area of sculpture, craft, political commentary, mixed media, printmaking, and performance will bring new perspectives to each summer session.

Read more about Artist Assistantship opportunities on page 34.

Session 1

Natalie Ball Erica Lord

Session 2

Nikolai & Simon Haas Dawit N. M.

Session 3

Saya Woolfalk

Session 4

Hrafnhildur Arnardóttir / Shoplifter

Session 5

Tommy Gregory Sabine Marcelis

Session 6

Ebony G. Patterson Naufus Ramírez-Figueroa

Fall Session 1

Marela Zacarías

Fall Session 2

Doug Johnston & Tomoe Matsuoka

N ATA L I E B A LL

Natalie Ball has a bachelor’s degree with a double major in ethnic studies and art from University of Oregon, and a master’s in Maori visual arts with a focus on Indigenous contemporary art from Massey University, New Zealand.

Ball received her MFA in painting and printmaking from Yale School of Art, Connecticut. Her work has been at Te Manawa Museum of Art, New Zealand; Portland Art Museum; and IAIA Museum of Contemporary Native Art, Santa Fe.

2 0 2 1 C U R ATO R S I N R E S I D E N C E For the first time, Pilchuck will be expanding our artist-inresidence program to feature several outstanding curatorial minds. It is our hope to expose our community of makers and the material of glass to some of the foremost curators of our time who are working to shape the exhibitions, events, and art fairs that make up the contemporary art world. The curator’s role on campus will be fluid as they join classes, conduct studio critiques, and generally work to raise the critical discourse of the whole community.

Session 3

Mika Drozdowska & Asia Stembalska

Session 4

Blanca de la Torre

2 0 2 1 V I S I T I N G A R T I STS Short-term visits by visual artists, designers, technical experts, curators, and critics enrich both the Summer and Fall Programs. Instructors are encouraged to invite local and visiting artists to give slide shows, lead discussions, give technical demonstrations, and critique students in their courses.

Session 4

Benjamin Moore

Fall Session 2

Ginny Ruffner

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E R I C A LO R D

Erica Lord explores concepts within a contemporary Indigenous experience.

Born to a Finnish-American mother and Athabascan/ Iñupiaq father, her experience of perpetually moving between locations inspires her work’s interest in themes of displacement, cultural identity, and cultural limbo.

She has had exhibitions at Museum of Contemporary Native Art, Santa Fe; Musée du Quai Branley, Paris; National Gallery of Canada; and Smithsonian Institution’s National Museum of the American Indian.

SESSION 2

SESSION 3

SESSION 4

N I KO L A I H A A S & S I M O N H A A S

S AYA W O O L FA L K

Twins Nikolai and Simon Haas have evolved from fabricators and collaborators to nimble crosspollinators in fashion, film, animation, art, and design. Their work explores nature, science fiction, sexuality, and psychedelia in materials ranging from brass, porcelain, and fur to resins and polyurethane. Their work is in the permanent collections of Cooper Hewitt, Smithsonian Design Museum, New York; and The Metropolitan Museum of Art, New York.

Saya Woolfalk is a New York-based artist known for her multimedia exploration of hybridity, science, race, and sex. Woolfalk uses science fiction and fantasy to reimagine the world in multiple dimensions. She received a BA at Brown University, Providence, and her MFA from School of the Art Institute of Chicago. Woolfalk’s work has exhibited around the United States and abroad, including MoMA PS1, New York; Museum of Contemporary Art, Chicago; and Studio Museum in Harlem.

H R A F N H I L D U R A R N A R D ÓT T I R / SHOPLIFTER

DAWIT N.M.

MIKA DROZDOWSKA & A S I A ST E M B A LS K A

Dawit N.M. is an Ethiopian-born director and photographer currently based in New York. His first exhibition, The Eye That Follows (2020), was held at Chrysler Museum of Art, Norfolk.

“My fascination with the commonality of the human experience and the emotions that we decide to embrace or deny produces a consistent backdrop for my work,” says Dawit N.M.

Mika Drozdowska is an art curator and head of Galeria SIC! BWA Wrocław, Poland. She curated exhibitions by John Moran, the de la Torre brothers, Philémon Vanorlé, as well as multiple public, interactive projects. Joanna Asia Stembalska is an art curator and head of Studio BWA Wrocław.

Drozdowska coordinated two editions of the Biennale of Urban Art OUT OF STH, and Stembalska authored six editions.

Shoplifter is one of Iceland’s leading contemporary artists, based in New York. Working with both synthetic and natural hair, her sculptures, wall murals, and site-specific installations explore themes of vanity, self-image, fashion, beauty, and popular myth.

Representing Iceland at La Biennale di Venezia in 2021, her installation Chromo Sapiens opened at the Icelandic Pavilion in May 2021 in Venice, Italy.

B L A N C A D E L A TO R R E

Blanca de la Torre is a curator specializing in art, ecology, and sustainability. She was chief curator for Artium Basque Museum–Center of Contemporary Art, Spain. She has since curated exhibitions internationally, including at Museo de Arte Carrillo Gil, Mexico; 2021 NC-arte, Bogotá; Łaźnia Centre for Contemporary Art, Poland; National Gallery of Modern Art, India; and MUSAC, Museo de Arte Contemporáneo de Castilla y León, Spain, where she is also part of the board of advisors.

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2 0 2 1 A R T I S T S / C U R AT O R S I N R E S I D E N C E

SESSION 5

SESSION 6

FA LL S E S S I O N 1

MARELA ZACARÍAS TO M M Y G R E G O RY

E B O N Y G . PAT T E R S O N

Tommy Gregory is a Seattle-based artist and curator with a BFA from University of Houston and MFA from University of Texas at San Antonio.

Gregory was the public art specialist for the City of San Antonio, and curated the collection for the Houston Airports.

Now Gregory oversees public art for the Port of Seattle. Exhibitions include Blue Star Contemporary, Texas, and Glassell School of Art, Texas, and a permanent bronze sculpture at the University of Houston - Downtown.

Ebony G. Patterson’s multilayered practice—in painting, sculpture, installation, performance, and video— uses beauty to address global social and political injustices. Her work is included in the collections of Brooklyn Museum, Art Gallery of Ontario, The Studio Museum in Harlem, and National Gallery of Jamaica. Upcoming solo exhibitions include Kunsthal Aarhus, Denmark; and the Athens and Liverpool Biennials.

Working with a labor-and researchintensive process merging sculpture with painting, Marela Zacarías molds window screen and plaster to fabricate undulating forms with the quality of fabric. She has held solo exhibitions at MadArt, Seattle; Sapar Contemporary, New York; Galeria Alterna, Mexico City; Wasserman Projects, Detroit; and more. She has received large-scale permanent site-specific commissions from the Seattle-Tacoma International Airport; Facebook HQ; and the U.S. Consulate in Monterrey, Mexico.

FA LL S E S S I O N 2

SABINE MARCELIS

NAUFUS RAMÍREZ-FIGUEROA

After graduating from Design Academy Eindhoven, Dutch designer Sabine Marcelis began working as an independent designer. She applies a strong aesthetic point of view to her collaborations with industry specialists, allowing her to achieve new and surprising visual effects for projects showcased in musea and commissioned by commercial clients and fashion houses. She recently won the prestigious Wallpaper* Designer of the Year 2020 award.

Naufus Ramírez-Figueroa holds a BFA from Emily Carr University of Art & Design, Vancouver, an MFA from School of the Art Institute of Chicago, and was a research fellow at Jan Van Eyck Academie, Maastricht. His work conjures live and sculptural representations that explore themes of loss, displacement, and cultural resistance. Awards include the Guggenheim Fellowship, the Mies van der Rohe award, the Akademie Schloss Solitude fellowship, and the DAAD Berlin Artists-in-Residence fellowship.

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D O U G J O H N STO N & TO M O E M ATS U O K A

Doug Johnston focuses on a process of coiling and stitching rope, producing a wide range of functional and sculptural objects. His work takes the position that no made object is exclusively aesthetic or utilitarian. Tomoe Matsuoka’s work explores two different modes of living: fixed and nomadic.

Through creating an alternative form of objects, furniture, and architecture, she envisions a situation where both modes can coexist.

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2021 CRAFTSPERSONS IN RESIDENCE 2021 SUMMER 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 experience in hot glassworking who execute the creative visions of artists in residence and summer instructors. They have a strong interest in collaboration and a desire to stretch their abilities and ways of thinking. Craftspersons in residence hold the technical challenge and responsibility of creating work for other artists. Pilchuck invites two craftspersons in residence to participate in each summer session.

Session 1

Ira Lujan Spooner

Session 2

Brandyn Callahan Aya Oki

Session 3

Michael Cozza Sasha Tepper-Stewart Kelly O’Dell

Session 4

Karin Forslund Rasmus Nossbring

Session 5

Patricia Davidson Robert Lewis Michael Hernandez

Session 6

Emily McBride Jason Minami

2 0 2 1 FA LL C R A F TS P E R S O N S I N R E S I D E N C E Fall 1

Dante Marioni Cedric Mitchell

Fall 2

Jason Christian Eric Meek

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15

SESSION

1 The Gathering

M ay 2 4 – J une 4

HOW TO APPLY Page 32

MYTH CONCEPTIONS

Glassblowing, Hot-Glass Sculpting, Sandblasting, Personal Introspection & Discovery In this course, we will encourage students to develop work that pertains to their own personal identities, ancestry, ethnicity, and family. Highlighting our own ways of connecting to our culture as instructors, we will attempt to help the students identify symbolism to their personal or historic mythologies.

With this method in mind, we will explore ways of blowing and sculpting, transferring designs to glass through sandblasting, and finding a purpose for the objects which will convey information both about the maker and their intent.

E / ALL LEVELS

Glassblowing, Hot Sculpting, Coldworking, Mold Blowing In this course, students will focus on building a foundation of skills for both blowing and sculpting in the hot shop before pushing the envelope through design and teamwork to discover what those skills can achieve. A survey of color techniques, pattern, bit working, hot and cold surface embellishment and more will give students a toolset of ways to think outside of the box when it comes to ability. Students will explore how these basic techniques can be harnessed and pushed to yield maximum creative results, using the resources at their disposal to make something bigger than the sum of its parts.

E / INTRODUCTORY

J O E D AV I D P R E STO N S I N G L E TA RY

Joe David is from the Nuu Chah Nulth tribe from the west coast of Vancouver Island. He has dedicated his life to the cultural art forms of his community through wood carving and design work, as well as illustration and painting.

His connection to Pilchuck goes back twenty-plus years. Preston Singletary is a Tlingit tribal member living in Seattle. He first attended Pilchuck in 1984, and has been a student, gaffer, instructor, and was a collaborator with the founder’s totem pole. He is currently a member of the Pilchuck board of directors.

Gaffers: Ira Lujan, Spooner

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M A K I N G M O U N TA I N S O U T O F M O L E H I LLS

R AYA F R I D AY

Raya Friday began working in glass in Seattle in the mid-nineties. She had spent the preceding years working as a manufacturer, instructor, designer, and independent artist. Friday earned a BFA in 2006 from Alfred University, New York. She is a proud member of the Lummi Nation, located on the eastern edge of the Salish Sea, near Bellingham, Washington.

Using a variety of glass techniques from casting, blowing, sculpting, and coldworking, Friday’s work is an exploration of the beauty and strength of the Indigenous spirit.

RARE SEEDS

HONORING WITH LIGHT

W H AT T R I B E S A R E YO U F R O M ?

Hot-Glass Sandcasting, Form, Natural Science

Neon, Single-Electrode Sculpture, Tube Mold Blowing, Sandcasting, Mixed Media

Photography, Digital Manipulation, Screen Printing, Imagery, Enamels

Nature is restorative and healing!

Zeroing in on natural replication as a practical approach, we’ll progress from ideation through personal observation, drawing, painting, and journaling to cultivating a skill set for mindful, sustainable castings using molten glass and wet silica sand mix. Working as a team to cast, and independently to study natural forms, we will refine parts, elements, and sequencing in playful approaches to support meaningful object making.

Sharing collective resources to fuel collaboration and community building, we will also think in terms of gift giving and sharing our experiences.

Examining the Neon Totem (Founder’s Pole) on campus, we see a way of honoring Pilchuck, its founders, indigenous traditions and peoples, and the place in which it stands in a merging of concepts, cultures, techniques, and creativity. This course is an opportunity to honor the significant elements in your life by using light and whatever mixed media we can round up! Working in the neon studio and Hot Shop, we will explore memorializing through bending text or imagery, mold blowing forms, understanding both single and double electrode techniques and sand casting.

Spending time in both the Image Lab and Print Shop, students will balance digital manipulations with physical making as they learn to think about Indgenizing the medium of photography and how to incorporate meaningful content into compositions and/or composite images. Making sure their images have all the qualities they need to make a fantastic foundational image, they will then learn to transfer their photographic images to glass using a specialized screen-print frame that fixates to the glass. Come and reflect on identity and learn to project your reflections through the lens and onto glass!

E / ALL LEVELS

E / ALL LEVELS

E / ALL LEVELS

C AT H Y C H A S E

D AV I D S V E N S O N

TO M A S C O L B E N GTS O N

PIKE POWERS

KAZUMI SVENSON

CARA ROMERO

Cathy Chase is both a visual and teaching artist. Teaching at Wilson High School, Tacoma, and Pratt Fine Arts Center, Seattle, gave her an appreciation of glass and its learning possibilities. Her work often references ordinary objects as they elevate into extraordinary objects of art. Pike Powers has shown paintings and sculpture internationally. She received a BFA under Dale Chihuly at Rhode Island School of Design and MFA at Yale University. As Pilchuck’s artistic director from 1993 to 2007, she pioneered numerous program expansions.

David Svenson’s influence comes more from the Aurora Borealis and nature than neon advertising. He has worked with a Tlingit totem-carving team in Alaska, learning, practicing, and teaching this cultural art form, and along with Preston Singletary, was instrumental in Pilchuck’s “Founders Pole.” Kazumi Svenson came to the US to research how to illuminate her glass forms. She has continued exploring illuminating blown forms, as well as incorporating mixed media and wood carving. She is currently an instructor at the Museum of Neon Art, Glendale.

Tomas Colbengtson is Sámi, a member of the Indigenous nomadic reindeer people who live in the northern parts of Scandinavia. In his work, Colbengtson often refers to Sámi culture, investigating cultural identity, history, and Indigenous peoples’ contemporary situations. Cara Romero is a Chemehuevi photographer from the United States, and was the first executive director of the Chemehuevi Cultural Centre. She is known for her dramatic digital photography that examines Indigenous life through a contemporary view.

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

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SESSION

2 Corporis

J une 8 –1 9

WITHIN THE BUBBLE

C O N C E R N I N G CYC L E S

Glassblowing, Hot Sculpting

Glassblowing, Recycled Glass, Experimentation, Performance

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.

E / INTERMEDIATE/ADVANCED

E / ALL LEVELS

MARTIN JANECKÝ

Martin Janecký began working with glass at thirteen at his father’s factory in the Czech Republic. After graduating from the Glass School, Nový Bor, he gained experience in South Africa, Sweden, the Netherlands, and the US, where he studied at Pilchuck Glass School under Richard Royal and William Morris. He has been a visiting artist and instructor at various glass programs worldwide. He has exhibited his work in galleries and museums all over the world, and in 2019 he set up Janecký Studio in Prague.

HOW TO APPLY Page 32

Gaffers: Brandyn Callahan, Aya Oki 18

Explore different mediums, skills, and processes that push both material and practice into uncomfortable places.

How do you react to and deal with the unplanned? Using recycled glass, blow or sculpt objects, use them as vessels, framework, fragments, reflectors, skins, and situate them in different environments and combinations to see if and how their narrative shifts.

We will initiate processes, follow them, respond to them—and document what happens through video and photography. We’ll work collectively, and utilize and share our strengths for a final collaborative performance, installation, and/or video piece.

SIMONE FEZER M A R I A P H I LL I P S

Simone Fezer addresses the fragility and interdependency of all life and creates interdisciplinary and immersive environments. She has a teaching assignment for sculptural glass at the State Academy of Fine Arts, Germany, and exhibits her large-scale installations in glass and mixed media nationally and internationally. Maria Phillips is an artist, educator, and director of the Recology King County Artist in Residence Program based in Seattle. Her work is a manifestation of inconspicuous beauty that awaits in the random encounters and habitual rhythms of her immediate environment.

NEW FRONTIERS IN STA I N E D G L A S S

Stained Glass, Painting, Imagery, Assemblage There are many possibilities for creating imagery in stained glass! This class will span the historical to the as-of-yet unexplored. We will focus on creating panels of narrative and abstract imagery, encouraging new and unexpected approaches. Some of the processes we will cover include stained-glass painting, sandblasting and engraving flashed glass, layering flashed glass, and assembly with both lead and copper foil. Expect to discover technical, material, and creative directions which will expand your creativity and your ways of thinking about glass and art.

H E A R T O F T H E M AT T E R

T H E A N ATO M Y O F S C U L P T I N G

Kiln Casting, Hot-Glass Manipulation, Lost Wax, Experimentation, Narrative

Flameworking, Figurative Sculpting, Hollow Sculpting

The creatural nature of many folklore and fairy tales often centers on the body, gender, and the human condition.

Inspired by these ideas, this course will motivate an individual narrative sculptural potential using kiln casting, formed, and inclusions in hot glass.

Through a lost-wax process using Zircar as our primary casting material, students will pursue a personal inquiry towards creating unique singular sculptures. To facilitate a variety of experimental works, the pieces produced will be small and limited in number.

This course is for students who wish to explore and/or sharpen their hollow-sculpting techniques. Students will learn how to understand and form proportional anatomy, express movement, and refine details. Not only will we cover technical glassblowing using borosilicate tubing and rods, we will also work on developing effective sketch-to-bench practices. Together we will create a collection of dynamic hollow-glass characters! Previous flameworking experience is highly recommended.

E / INTERMEDIATE

E / ALL LEVELS

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GLENN CARTER

ST E P H E N PA U L D AY

JUDITH SCHAECHTER

S I BY LL E P E R E T T I

Glenn Carter is a freelance glassmaker based in Plymouth, England. He is a glass lecturer at Plymouth College of Art and holds an MVA from the Australian National University in Canberra. He has work installed in over thirty-five non-secular buildings throughout the UK. Judith Schaechter graduated from Rhode Island School of Design. Her work is collected internationally and is represented in such museums as Philadelphia Museum of Art; Victoria and Albert Museum, London; and Renwick Gallery of the Smithsonian, Washington D.C.

Stephen Paul Day is an avid seeker of the curious and wonderful, deriving pleasure by creating works deeply motivated by a sense of connected historical relevance and through appropriate traditional skills.

German artist Sibylle Peretti creates multimedia collages and sculptures balancing the nostalgia of impending loss – societal or environmental with the fortitude of understanding ourselves and the world. Together, Day and Peretti created Club S+S, and split their time living and working in New Orleans and Berlin.

S I B E LL E Y

Sibelle Yuksek, also known as Sibelley, works independently out of her studio in downtown Los Angeles. She received her BFA in illustration and in craft/material studies from Virginia Commonwealth University, Richmond, in 2012. Upon her arrival in Los Angeles in 2014, she spent much of her career flameworking for Neptune Glassworks and performing for clients such as Carhartt, Von Miller, Flow Kana, and others.

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3 Family Ties

J une 2 5 – J uly 2

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ReWORK IT!

T H E P I LC H U C K C H R O N I C L E S

Glassblowing, Mold Blowing, Coldworking, Enameling, Fire Polish

Hot Glass, Warm Glass, Coldworking, Narrative, Installation

How do we get where we want to go and say what we need to say through hot-glass work? Cycling between Hot Shop and Cold Shop, research the possibilities in the combination of hot and cold techniques to find new aesthetics, textures, and temperaments. Hot-sculpting post gathers, cutting cold crystal, overlays and stuffed cups, enamel and paint markers, poetry on a diamond saw, hot collage; using methods like these, we will expand and express our technical vocabulary. Let’s work through the process inspired by experimentation with a critical but joyful eye on the technical side of glassmaking.

In the new groundbreaking work, The Pilchuck Chronicles, students arrive at a remote, Arcadian campus to discover an instructor who encourages them to explore the power of narrative by challenging them to create objects and installations that mirror factual and fictional events. As personal narratives begin to emerge, students discover hot, warm, and cold techniques in the studios to construct and deconstruct their compelling personal and/or ubiquitous stories. As experimental and unconventional approaches to process unfold, each student begins to embark on their own personal journey.

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S I M O N K L E N E LL LEO TECOSKY

Simon Klenell is a glassmaker, artist, and designer born in Sunne, Sweden.

He graduated from Konstfack University of Arts, Crafts and Design, Stockholm, and has worked with glass as well as product design in various capacities and collaborations. A Brooklyn-based glassmaker and teacher, Leo Tecosky’s work is in hip-hop iconography, using its symbols and codes as sculptural muses. He was a part of Graffiti & Ornament at The Woodlands Cemetery, Philadelphia, and was an artist in residence at Stockholm Glas and Gustavsbergs Konsthall, Sweden.

BETH LIPMAN

Beth Lipman is an American artist whose sculptural practice explores aspects of material culture and deep time through still lives, site-specific installations, and photographs.

Ephemeral and intricate, the work addresses mortality, materiality, and temporality. Lipman is also known for site responsive installations that activate the specific history of objects, individuals and institutions.

Recent works include Belonging(s), a sculptural response to the life of Abigail Levy Franks for the Crystal Bridges Museum of American Art, Arkansas.

Gaffers: Michael Cozza & Sasha Tepper-Stewart, Kelly O’Dell 20

A N I M A L I ST I C

H O W TO M A K E A B E A U T I F U L L I F E

J O I N T H E FA M I LY !

Glassblowing, Hot Sculpting

Flameworking, Color Application, Assembly, Professional Development

Youth Camp (Ages 8-15)

Strip away your anthropocentric perception of the world we inhabit!

There is no better place than Pilchuck to pull us away from that which clutters the mind. Let’s take this time to examine our natural surroundings a little closer. Observing nature we learn more about ourselves, and sharpen our individual awareness.

Join us in an exploration of the wonder that lies in the deep moss underfoot, the hoot of the barred owl, the lush green fern, and folds in the bark of the Douglas fir. What can we derive from this infinite well of inspiration that is our natural world?

C / INTERMEDIATE/ADVANCED

This course will focus on flameworking while also considering the pragmatic side of creating art. Lectures and individual guidance towards the development of glass art as a business while concentrating on traditional marketing basics for creatives will be volunteered by Landau, while Willis will focus on studio processes and techniques at the torch. Investigations in flameworking will reflect class interests, but may include hollow and solid forms, variations in color application, hot and cold approaches to assembly, botanicals, canework, murrini, small, and large scale sculptural processes.

Youth are invited to explore materials alongside students, teachers, and staff. With their families, youth participants will play in the woods, cook, visit classes and workshops, and play with art. Youth will be accompanied

by Pilchuck staff in exploring materials and techniques such as printmaking, 3D designing and printing, clay, and glass.

More than finished products, the focus of these experiences will be to discover materials and their properties and to have fun!

D / YOUTH CAMP (AGES 8-15)

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R AV E N S K Y R I V E R

Raven Skyriver started blowing glass at the age of sixteen. His mentor, Lark Dalton, taught him how to build glassblowing equipment and trained him in the traditional Venetian technique. In 2003, Skyriver was invited to join the William Morris team. He worked on the team until Morris’ retirement in 2007.

His focus in the area of sculpture, and the depiction of marine life is inspired by his island upbringing, and informed by the creatures that inhabit this fragile ecosystem. Skyriver produces his work in the greater-Seattle area.

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

JESSICA LANDAU

M A R TA C A B R A L

D AV I D W I LL I S

DORIE GUTHRIE

Jessica Landau holds an MBA from University of Washington, Seattle, and has taught at Wilson High School and Hilltop Artists in Tacoma. She was a full-time member of the glassblowing team at Chihuly through 2019, concurrent to teaching while creating whimsical glass artwork and jewelry designs. David Willis holds a BA from UC Berkeley in social change and minor in conservation and resources studies, and remains engaged in both fields. His work covers a broad range of techniques within flameworking.

Marta Cabral works with people of all ages exploring art materials, processes, and ideas and has taught children for over twenty years. She is an assistant professor at the City University of New York, College of Staten Island and develops classes for children and families at UrbanGlass, Brooklyn.

Dorie Guthrie is a graduate of Illinois State University, Normal, and has continued her studies at numerous art organizations to further her technique. She teaches kilncasting, glassblowing, flameworking, fusing, and imagery techniques at UrbanGlass and other venues.

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J uly 8 –2 5

SESSION

4

CROSS-CURRENTS: EUROPA

M A G I C A I R & H O LY G R A A L

DEPTH CHARGE!!!

IERI - OGGI – DOMANI

Glassblowing, Graal, Ariel, Engraving, Imagery, Coldworking

Glassblowing, Hot Sculpting, Inclusions

Hot Glass, Design, Italian Glass History, Professional Practice, Sustainability, Glass Chemistry, Technology

In this course, students will explore and challenge two of the most famous techniques in Swedish glassblowing: graal and ariel, both used to encase imagery in hot glass. Working in the Hot Shop, we will make multilayered graal and ariel blanks—and will play a bit with Swedish overlay—and even try to combine these two techniques to push them to higher levels. After creating our blanks in the Pilchuck Hot Shop, we’ll move to the Cold Shop for pattern making by drawing, cutting, sandblasting, and engraving. Come and discover how light passing through glass and encased air transforms the mundane into the magical!

What lies beneath the surface? Cells, structures, patterns, creatures, complex networks, entire ecosystems, and other worlds that we may not ever truly understand. In this course, use a variety of techniques and ideas to explore how inclusions can be tools to manipulate visual perception: microbes, which exist under the surface of the glass, playing, deceiving, or teasing the viewer. The hot-shop sessions will explore approaches to movement, heat, rotation, gravity, and human interaction, examining how structure, inclusions, and narrative can be embedded into forms generated in the Hot Shop.

Students will assess sculptural craftbased vessel making based on historic Venetian and Muranese examples and the context in which they were originally developed, combining ancient to contemporary design with modern sustainable glass practices.

Referencing classic examples from the Venini Factory, visiting artists and designers will encourage students to reinterpret forms and their meaning through a contemporary lens. Andy Paiko will provide technical assistance and hot-shop demonstrations to hone skills using recycled glass, culminating in a final collaboration.

F / INTERMEDIATE/ADVANCED

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MICKE JOHANSSON

Micke Johansson is a master glassblower and designer from Sweden. At sixteen-years old, Johansson started working at Orrefors Glassworks, becoming a master glassblower there at the age of twenty four. In 2004, Johansson started to work at Pukeberg Glassworks, where he could develop and produce his own art glass. Since 2007, he has run his own glass studio on his farm outside of Örsjö. There he produces all his glass freehand and with great craftsmanship. Johansson specializes in old Swedish techniques like ariel, HOW TO graal, and Swedish overlay.

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JAMES DEVEREUX LO U I S T H O M P S O N

James Devereux began working with glass at fifteen, and has been working as a glass artist ever since. He opened his first studio in 2008, and has worked as a glass technician at the Royal College of Art, London. In 2013, he cofounded a new studio, Devereux & Huskie Glassworks.

Louis Thompson completed his Master’s degree at the Royal College of Art. His work has been exhibited extensively at galleries and museums in the UK, Europe, Japan, and the USA and he has been invited to create installations for various international exhibitions.

A U TO N O M A

Tina Aufiero (a multi-disciplinary artist incorporating glass into her work for over forty years) and Andy Paiko (a master designer and glassblower working almost thirty years) come together to collaborate with visionary Marcantonio Brandolini and Alice Santillana. Together they are Autonoma. The Autonoma model, active since 2017, seeks to modernize traditional glassmaking utilizing every form of renewable energy and available resources to re-envision the glass of the future and its value.

Gaffers: Karin Forslund, Rasmus Nossbring 22

T R A N S F I G U R AT I O N

GOOD BONES | REVISAL

MOSAIC ROCKS THE WORLD

Design, Experimentation, Mixed Media

Kiln Forming, Coldworking, Form

Mosaics, Mixed Media, Glass, Smalti, Marble, Contemporary Art

In this course, students will challenge their conceptions of everyday objects and their purpose. Choosing objects that have lost their charm or have become subsumed by their perceived function, students will be tasked with redesigning the object by following its traditional shape with a new approach, presenting the object with a new context, or providing it with a new destination. Using the Print Shop, Pilchuck’s new Imaging Lab, Woods & Metals, and other studios, students will find inspiration in the resources available to reimagine the everyday world.

Focusing on kiln-forming and coldworking processes, this course will start with a hands-on experience designed to expand students’ ideas and their concepts of what’s possible in kiln-formed glass. Using 3D paper and tracing-paper models, students will experiment with form and structure before cutting various forms from sheet glass and fusing or slumping them in kilns to create three-dimensional or two-dimensional objects. Using gravity slumping, students will have the ability to observe the moments of deformation as they happen in the kiln.

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J A K U B B E R DYC H

Jakub Berdych (born 1953 in Prague, Czechoslovakia) is a co-founder of the Qubus Design Studio, Prague, which primarily focuses on conceptual work with traditional Czech materials like glass and porcelain. His work spans many fields, from products to comprehensive collections known both locally and abroad, and includes the renovation of the interior of St. Bartholomew’s church in Chodovice, Czechia, as well as installations in New York’s Moss Gallery and London’s Mint Gallery.

This course will focus on translating ideas into mosaic projects in concise and fresh ways. Beginning with an exploration of ancient Ravenna mosaic techniques and materials before investigating the many facets of contemporary mosaics and nontraditional materials, students will draw on their own life experiences, aspirations, and dreams to develop projects and translate them into mosaics. Exploring with smalti, lead came, glass, marbles, ceramics and many other materials, students will have myriad different ways to bring their ideas to fruition.

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MARZENA KRZEMIŃSKA BALUCH

LU C A B A R B E R I N I

Polish-artist Marzena Krzemińska Baluch looks at places and their surrounding realities. She experiments and observes the behavior of glass during its shaping, with emphasis on involving air and the process of gravity. She currently lives and works as an artist and dean of the Faculty of Ceramics and Glass at the Academy of Fine Arts in Wrocław, Poland. She received the Silver Award at the Toyama International Glass Exhibition, Japan; and the Silver Award in the Emerge 2016 international competition organized

by Bullseye Projects.

A R I A N N A G A LLO

Luca Barberini is a visual artist born in Ravenna. He graduated from the G. Severini Institute of Mosaic Art. The exploration of a personal pictorial universe lead him to push the limits of the mosaic technique on his journey to develop a unique artistic approach.

Arianna Gallo is a mosaic master, art director, and head of the Koko Mosaico laboratory. She graduated from the Institute of Art for Mosaics and from the School of Mosaic Restoration of Ravenna, Rome. Together, they founded and continue to run Koko Mosaico in Ravenna.

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SESSION

5 Encephalon

J U LY 2 9 – A U G U ST 1 5

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2.0

T H E K I TC H E N S I N K

Glassblowing, Lighting, Design, Professional Development

Glassblowing, Coldworking, Assembly

Lighting design and iteration! A session jammed to the brim with an assault on the lighting industry from two professionals in the trade.

Students will explore the business of the lighting world and the deconstruction of process and form.

We will have lectures on industrial processes, the design world, 3D printing components, and the balance of professional and personal practices.

Students will work through mold blowing and repetitive form building.

Wiring and UL, CSA, and European codes and certifications will also be covered. Got ideas? Let’s have at ‘em!

While glass is extremely versatile, it is easy to feel limited by the processes and techniques we choose to utilize.

Students will be introduced to an integrative approach that removes barriers between processes and empowers them to move fluidly between studios and techniques, letting ideas be the driving force. In addition to the Hot Shop, Cold Shop, and kilnworking, we will cover the uses of adhesives for cold assembly and discuss important considerations when combining glass with other materials. Our goal is freedom during the design process and confidence in our ability to explore novel concepts!

F / INTERMEDIATE/ADVANCED

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J AY M A C D O N E LL M I C H I KO S A K A N O

Jay Macdonell balances personal explorations with working for various artists, designers, and architects as a project manager, design consultant, and gaffer. He is the material explorations manager for Bocci, a process-based design and architecture firm based in Vancouver and Berlin.

Japanese-born glass artist Michiko Sakano started a fabrication studio in Brooklyn where she and her team create artist editions, original art works, and limited edition design pieces. Her clients include Lindsey Adelman Studio, Rolland Hill, Jorge Pardo, and others.

GRANITE CALIMPONG

Granite Calimpong received his BFA from University of California San Diego, and recently completed an MFA in 3D4M (Sculpture) from University of Washington, Seattle. He has worked as an artist assistant, fabricator, and maintained his own studio in Seattle for the past twelve years, and is a longterm resident at Pottery Northwest, Seattle. Recent exhibitions include a two-person show at the Fairbanks Gallery at Oregon State University titled, Seeing is Deceiving, and a group show in conjunction with the annual NCECA conference, Richmond.

Gaffers: Patricia Davidson, Robert Lewis Neon Gaffer: Michael Hernandez 24

A D D I T I O N T H R O U G H R E D U CT I O N

B A C K F L I P N AT I O N

HIVE MIND

Coldworking, Mark Making, Lamination, Mirroring

Flameworking, Sculpture, Fluid Dynamics, Design, Functional Art

Hot-Glass Working, Process, Collaboration, Sculpture, Performance, Experimentation,

For those discontented with the recognizable and easily identifiable, this non-traditional coldworking class will challenge much of what we know about glass. Students will learn coldworking fundamentals, as well as engage in experimental mark making, lamination, and mirroring techniques.

Students will leave this class knowing how to manipulate the formal qualities of glass, and how to obtain the visual weight of absence formed by negative and positive space. By manipulating glass’ inherent properties in an unorthodox way, participants will be left wondering: what is actual depth vs. what is perceived depth?

The function of a piece can take on a beauty of its own; it’s not only about the ergonomics, it’s also about the way smoke moves through the water, how water moves through the piece, and how all these aesthetics work together.

In this course, students will explore the possibilities of fluid dynamics in glass. Advanced flameworking techniques will be utilized to create pathways to designs that push the idea of functional art. From sketching to technical drawing to hands-on practice, ideas will be expressed in the functionality of borosilicate recyclers.

How do we create work that exceeds our own limitations? Using community and collaboration, we will create a synchronous super mind to access our collective skills and experience to create what we cannot achieve alone.

Students will employ traditional and experimental glass and sculpture techniques in the Hot Shop and other studios as well as small and large groups to develop projects at both intimate and architectural scales that mingle glass, sculpture, and performance.

F / INTERMEDIATE/ADVANCED

F / ALL LEVELS

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K I E S H A B O LTO N

Kiesha Bolton is a glass artist based in Ohio. She received her BFA from Columbus College of Art & Design (CCAD), Ohio, in photography. While at CCAD she began to translate twodimensional language into a tactile experience through glass. She then went on to graduate with her MFA degree in three-dimensional studies with a concentration in glass from Bowling Green State University, Ohio.

Bolton has received scholarships from Pittsburgh Glass Center, The Corning Museum of Glass, and Pilchuck Glass School.

D A N I E L C OY L E

Daniel Coyle, also known as Coyle, is an independent artist and his stylistic and distinctive monkeys, bears, and bananas are easily recognizable.

He started blowing glass in 2003.

After spending five years working as a professional glassblower for a chemical company, he quit his job in order to pursue his artistic vision in glass pipes. Coyle currently resides in western Massachusetts.

ANNA MLASOWSKY C . M AT T H E W S Z Ö S Z

Anna Mlasowsky and C. Matthew Szösz are practicing artists and educators known primarily for their innovative use of glass to explore the relationship between the physical, the intellectual, and the emotional. Within their practices they pursue disparate interests in personal identity, the influence of the built environment, performance, material exploration, and natural phenomena. Both have won numerous awards, residencies, and grants, and have participated in programs across four continents.

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

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SESSION

6 Animus

A ugust 1 9 – 3 0

H OT B I TS & C O L D C U TS

M AT E R I A L M E TA M O R P H O S I S

Glassblowing, Fusing, Wheel Engraving, Bur Engraving, Coldworking

Glassblowing, Experimentation, Mixed Media

Create cameo blanks using several glassblowing applications including overlays and graal. Instruction will be provided on all engraving and cutting tools available in the Cold Shop: wheels, burs, and sandblasting. Individual practice time will be scheduled in both hot and cold studios. Students will have the option to finish their work using classic cold polishing, or return to the hot shop to fire polish, expand, and reshape their engraved glass.

The course will include discussions of historical references, hot and cold demos, and critiques. Visiting artists will provide additional presentations.

Learn to express through abstraction by pushing material limitations and approaching glass from a nontraditional angle. This course will be focused around using multiples, surface and color, and mixed-media applications as the foundations of our work. We will also explore experimental sculpting techniques, mold making, and an array of materials in and outside the Hot Shop as aids for construction, surface treatments, and finishing agents. Embrace experimentation, discover how to bridge multiple materials in a cohesive manner, and push the limits of your creative expressions.

E / INTERMEDIATE

E / ALL LEVELS

FRITZ DREISBACH H E AT H E R H A R T L E

HOW TO APPLY Page 32

Fritz Dreisbach returns to Pilchuck 50 years after his first visit. Conducting hundreds of glass classes & lectures globally in over 160 venues, he is the “Johnny Appleseed of Glass”. Cameo glass is his newest glass passion allowing the fusion of both painting and glass skills. Heather Hartle has focused her practice on engraved glass for 20 years. She was a demonstrating artist during the 2017 GAS Conference, and a resident artist in Zelezny Brod, Czech Republic. Hartle teaches cameo engraving at several prominent glass studios.

Gaffers: Emily McBride, Jason Minami

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BRI CHESLER

Bri Chesler is a multidisciplinary artist working primarily in glass and mixed media. Her work draws from the wild and exotic character of the natural environment and its relationship to our own internal structures. By fusing similar elements found in biology and botany she creates forms that ‘flirt’ with the audience, exploring ideas of intimacy and desire. She has been featured at Bellevue Arts Museum and was a 2019 Pilchuck Emerging Artist in Residence.

W I L D T H I N G , YO U M O V E M E !

M A K E YO U R FA B R I C

C A ST I N G A J U B I L E E

Neon, Kinetics, Electronics, Animated Image

Kiln Forming, Pattern, Powder Printing

Sand Casting, Structure Building, Modularity

Learn how to design and fabricate two- and three-dimensional neontube artworks and animate them!

Bring movement to your work by mechanically manipulating the tubes, or by lighting them sequentially using electronic animators. Demonstrations will include design and construction techniques for support structures using wood, Plexiglas, glass tubing, along with neon tubes. We will cover instruction on how to create and read electrical schematics, as well as how to work with high-voltage power supplies, mounting hardware, wiring, and insulators.

In this course, students will learn how to design and pattern their own fabrics and also brainstorm on a collective fabric in relation to Covid-19 through the use of Adobe Illustrator and freehand drawings. As a class, we will explore basic and experimental screen developing techniques, printing with powders and enamels, and the importance and power of pattern.

Students will have the opportunity to learn how to program the kiln and fire their own work. Students will also learn about the importance of Kente cloth and Adinkra symbols in history.

Twenty-five years ago, the Trojan Horse was the centerpiece of a Pilchuck summer session focused on glass and architecture. This reprisal will once again use glass casting as a tool to understand how casting can be a creative catalyst. Students will be taught elemental systems of sand casting and be directly engaged in a new structure on campus. Modularity, systems strategies, pattern, and aesthetics will be discussed in relation to the community and the ultimate disciplinarian: the clock. The only prerequisites are inquisitiveness and an ability to engage by learning through a direct and experimental project.

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MICHAEL FLECHTNER

Michael Flechtner works and lives in Van Nuys, California. He has always worked with electricity and colored light. Flechtner earned a BFA and an MFA in sculpture before learning to fabricate neon tubes. He often makes 3D neon forms, and many of his artworks are animated, either through electrical switching of the neon tubes or actually moving them. Humor and wordplay are often components of his artwork, and Flechtner designed the Celebrate! Forever Stamp, the first USPS stamp to feature neon as the design.

A N T H O N Y A M O A KO - AT TA H

Anthony Amoako-Attah began his artistic career at KNUST- Ghana in ceramics, and continued to pursue his masters in glass at University of Sunderland, where he is currently a PhD student. He has acted as a teaching assistant and ceramic technician at KNUST and Sunyani Technical University respectively. He is primarily self-taught, and his work focuses on migration, integration, dislocation, and life chances. He uses his traditional Kente designs and Adinkra symbols on glass through powder printing, making the glass look like a woven or printed fabric.

H A N K M U R TA A D A M S

Hank Murta Adams earned an undergraduate degree in painting before making glass his focus in graduate school, after being introduced to the glass community

by Dale Chihuly. Adams’ work as an educator, both officially at institutions and informally in communities, at non-profits, and creative-work tanks, is a central facet of his life and work.

He garnered awards and exhibited his own sculpture extensively until the events of 9/11, when he began to focus more deeply on creative community development.

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FALL SESSION 1

S eptember 4 – 9

B R I N G I N G C O LO R TO L I F E

INNER VOICE

Hot-Glass Color Application

Hot Glass, Imagery, Printmaking, Coldworking, Design

This course will be devoted to different approaches to surface-treatment color application. Emphasis will be on applying color and making it integral to the overall aesthetic. Students will observe demos from two masters at skillful color use in the hot shop before delving into the techniques and methods themselves, using colored powders, pickups, and overlays.

Students will learn to communicate ideas by working through and with a team. This course will be chock full of information, so get ready to work!

A / INTERMEDIATE/ADVANCED

This course will focus on developing rule-based systems for experimentation and design in the Hot Shop, Cold Shop, and Print Studio.

By limiting variables such as time, materials, and processes, students will learn new ways to work intuitively and practice techniques for focusing creative independence. Throughout the course, students will be asked to push themselves and consider new ways of seeing their approach to artmaking.

This course will cover glassblowing, finishing techniques in the Cold Shop, as well as light, imagery, and printmaking.

A / ALL LEVELS

HOW TO APPLY Page 32

JASEN JOHNSEN

LY D I A B O S S

KAREN WILLENBRINK-JOHNSEN

JOHN HOGAN

Jasen Johnsen and Karen WillenbrinkJohnsen have co-taught throughout the world together and create their artwork based on a love of adventure, nature, and glass at their studio in Bow, Washington. Karen says, “as much as you can and as often as you can remember to live for your spirit!”

She earned her BFA in sculpture from Ohio University and was a core member of the William Morris team for twenty years. Jasen Johnsen served as the head studio technician at Pilchuck Glass School for nearly ten years and produces a line of glass-working tools.

Gaffers: Dante Marioni, Cedric Mitchell

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Lydia Boss is an artist whose work investigates themes of identity, time, and nature through a feminist, millennial lens. She graduated with a BFA from Bowling Green State University, Ohio, and has studied at the International Glass School, Nový Bor, among other institutions.

John Hogan is an artist whose work spans functional objects and fineart sculpture, and is distinctive in its exploration of refracted light.

Recently, Hogan has been working with architects and developers on largerscale projects.

H O L D O N TO YO U R M O L D S . . .

I T ’ S A B O U T TO B LO W !

Glassblowing, Mold Blowing, Hot Casting, Mold Making, CNC Machining, 3D Printing, 3D CAD Merge old and new processes as we explore product design and hot-shop production methods, pairing digital technology with traditional hotcasting and mold-blowing techniques.

Students will design their molds using introductory 3D CAD programs and will prototype them in the BotLab using 3D printers. The production molds will then be machined on CNC routers.

Students will be provided with an introduction to glassblowing in the Hot Shop, and will cast and blow into the molds they’ve created to see their vision come to fruition!

PRINT3

THE VOICE OF BORO-GLASS

Print, Digital Imagery, 3D Printing, Screen Printing, Waterjet Cutting

Flameworking, Jewelry, MixedMedia Sculpture

Working with digital drawing tools including Adobe Illustrator, AutoCAD and TinkerCAD, we will explore methods of digital fabrication on and with glass. Using methods such as screen printing, waterjet cutting, and 3D printing, we will explore image making in 2, 2.5 and 3 dimensions.

Students will leave the class with a handful of unique samples of each technique. This quick sprint will give students an overview of how digital processes might be applied to their glass work.

Let’s listen to the voice of borosilicate glass! In this class, we will focus on understanding how glass rods and tubes change forms as a result of heat application, gravity, centrifugal force, blowing, and with the use of tools. All demos will have verbal explanations, accompanied by some drawings as well. Together we will strategize different ways of working with the glass to create your project. Let’s have fun together and discover the voice of borosilicate!!!

A / ALL LEVELS

A / ALL LEVELS

A / ALL LEVELS

B E N N Y H I LL

Benny Hill is an art educator who prides himself on creating fun learning environments where artists can use their skills, materials, and processes in combination with technology. Hill lives in Portland, Oregon, where he designs and makes products for Jimbo Cups, a company he co-founded. Hill believes firmly in creating an inclusive, safe, and creative community. He has taught art and technology to all ages and skill levels, and most recently worked at the Oregon College of Art and Craft, Portland.

ERIN DICKSON J E F F R E Y S A R M I E N TO

Dr Erin Dickson specialises in digital design and manufacturing for glass. Currently a researcher in the manifestation of climate change data, Dickson’s work has been exhibited internationally, including at the 2015 and 2017 Venice Art Biennale. Dr Jeffrey Sarmiento is senior lecturer in the School of Art and Design at The Australian National University, Canberra. A pioneer of print techniques for kiln forming, his creative practice explores cultural identity and the graphic image in glass.

E M I F U J I TA

Emi Fujita was born and raised in Tokyo, Japan. She acquired an MFA degree from Tama Art University in Tokyo, majoring in glass. She has attended several workshops in Japan and the United States, mainly at Pilchuck Glass School, where she nurtured her work style. Her works are mixed-media glass sculptures and jewelry. Currently, her passion is about creating realistic glass flowers to capture and visualize the fleeting moment of life in transition.

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

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S eptember 1 3 –1 9

FALL SESSION 2

TRABAJAR CON BORDES

YO U ’ R E I N V I T E D

MixtUP

Glassblowing, Exploration, Collaboration, Experimentation

Glassblowing, Tableware, Collaboration

Glassblowing, Flameworking, Mixed Media

This course will be a whirlwind of nonstop activity! Packed with demos, short-term projects, process and technical investigations, collaboration, humor, and challenges; students will tackle culture (both personally and in its wider-ranging aspects), the language of craft, and sourcing what we make. Students will be challenged to think asymmetrically as they move from studio to studio, learning how their cultural background influences others and vice-versa—as well as how that intersection affects their own work and can open new avenues of thought on a broader level.

There’s nothing more satisfying than eating and drinking from handmade wares with friends. This course will focus on establishing a strong foundation in form and function. Our objective will be to create a tablescape to use for a social mixer at the end of the class, bringing everyone together to celebrate one another’s hard work and individuality. We will divide and conquer to make drinkware, pitchers, serving bowls, plates, candlesticks, you name it! Students need only bring a good attitude, an open mind, and a hunger to learn!

Delving into the world of mixing blown, solid, and flameworked glass with other materials students will be challenged to leave all their traditional concepts at home and shake-up their notions of glass, making, mixed media, and expression. Working in the Hot Shop, at the flameworking torch, and with other materials, students will have access to different glass techniques and materials to create mixed-media work that resonates to their own unique melody. And—of course—there will be surprise visitors, joy, and dancing!

B / ALL LEVELS

B / ALL LEVELS

B / INTERMEDIATE/ADVANCED

RICHARD MARQUIS T H E R M A N STATO M TO OTS Z Y N S K Y

Dick Marquis, Therman Statom, and Toots Zynsky are leaders in the field of contemporary glass and the studio glass movement. Marquis first visited Pilchuck in 1971, and is known as a pioneer in studio glass and for creating well-crafted, iconic objects. Statom came to Pilchuck in 1972, and is notorious for his large-scale structural installations and sculptures. Zynsky, known for her unique filet-de-verre technique, was key in the development of Pilchuck from 1971-73.

C O R E Y P E M B E R TO N

Corey Pemberton received his BFA from Virginia Commonwealth University, Richmond, in 2012. He has completed residencies at Pittsburgh Glass Center, Pennsylvania; Bruket, Bodø, Norway; as well as a Core Fellowship at Penland School of Crafts, North Carolina. He currently resides in Los Angeles, where he splits his time between a production glassblowing job and his mixed-media painting practice.

Gaffers: Jason Christian, Eric Meek 30

LAURA DONEFER M E G A N ST E LL J E S

Laura Donefer has worked with glass for more than thirty-eight years, often in combination with diverse materials.

Celebrated for her innovative, colorful blown glass and flameworking, she explores ideas of memory, assault, bereavement, joy and madness.

Megan Stelljes received her BFA from Emporia State University, Kansas. She has apprenticed under glass sculptor Karen Willenbrink-Johnsen and neonartist Jeremy Bert. She has exhibited her work at the Museum of Neon Art, California; Heller Gallery, New York; and Traver Gallery, Seattle.

S A N D TO S O U N D

THINKING IN GLASS

Glassblowing, Hot-Glass Casting, Instruments, Sound, Beading, Performance

Kilncasting, Imagery, Lost-Wax Casting, Printmaking

Engage in the seldom chartered realm of decorated glass making music!

Blown and cast instruments, adorned with fused beaded designs, will ultimately be played in an “Artchestra” by their makers. From totally acoustic percussion, windblown, to amplification through contact microphones; explore sound and its interplay with singing and spoken word. Instruments will be enriched with glass beads using the peyote stitch, frit, and millefiori to create a result similar to painting. Come and explore the sonic possibilities of glass and performance!

PRINTMAKING WITH GLASS P L AT E S : N O R T H W E ST P L A N TS

Printmaking, Vitreography, Imagery, Coldworking

The aim of this course is shifting self-imposed boundaries in order to think of new works and installations.

Students will learn how to make visible their thoughts and to approach a project in terms of what they want—not limiting themselves with what they can. Working with molds and exploring kiln and lost-wax casting, experimental printing on glass, and coldworking, students will utilize lectures, personal reflection and inquiry, and dialogues around contemporary art and installations to develop and make visible their intuitions and ideas.

Turn sketches and drawings from local flora and fauna into fine-art prints for your own Pacific Northwest print series. Together we will collect botanicals and sketches from campus (no need to be “good” at drawing), and will learn to reference the collected samples and manipulate the surface of glass plates using a variety of markmaking tools and techniques to create interesting textures, line weights, and shapes. Leave with a portfolio of botanical fine-art prints, inked by hand and hand pulled, and a new way of thinking of glass as a matrix.

B / ALL LEVELS

B / ALL LEVELS

B / ALL LEVELS

J OYC E J . S C OT T PA U L R U C K E R

Joyce J. Scott has a BFA from Maryland Institute College of Art, an MFA from Instituto Allende, Mexico, and her life with her mother, Elizabeth T. Scott, an internationally recognized fiber artist. She is a MacArthur fellow, and has work in numerous public and private collections. Paul Rucker is a visual artist, composer, and musician combining media, performance, sound, original compositions, and visual art.

A Guggenheim Fellow, TED Fellow and Senior Fellow, he is the curator for creative collaboration for VCUarts.

S I LV I A L E V E N S O N

Originally from Buenos Aires, Silvia Levenson immigrated to Italy in 1981.

Her work deals with social issues ranging from migration, violence against women, and recently, the crimes of the 1976 Argentine coup d’état. Levenson’s work is never based on technique or technical virtuosity, but rather on how to make visible her thoughts and her sense of perplexity about the world. She received the Rakow Commission Award from Corning Museum of Glass, New York, and the Glass in Venice Prize from Instituto Veneto. Her work has been exhibited around the world and is part of several collections.

NIKKI BARBER

Nikki Barber is a Seattle-based printmaker, focusing on the natural wonders of the Pacific Northwest.

She graduated from University of Washington, Seattle, with an interdisciplinary visual arts degree with a focus in printmaking, earned simultaneously with her degree in biological sciences. She primarily teaches printmaking at Pratt Fine Art Center, Seattle; Seattle Artist League, and other art schools in the Seattle area. She is represented by MESH Fine Art, Chicago.

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

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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

• Only one online application form is needed to apply as a student and for a scholarship or financial aid each year. Apply for free! With thanks to generous donors, Pilchuck is waiving the application fee for all programs and residencies in 2021.

• Summer Staff and Teaching Assistant & Artist Assistant applicants use a separate online application form.

• Student applications received prior to midnight (PST) February 1 are entered into a lottery for priority placement. Applications received afterward will be considered on a first-come, first-served basis for remaining openings.

• To be considered for scholarships and partner residencies, your student application is 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.

N E E D H E L P A P P LY I N G ?

intergenerational programming each night.

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

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.

• 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.

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

SCHOLARSHIPS

E X P E R I E N C E L E V E LS

C O LL E G E C R E D I T

Course levels are listed with each course description: • Introductory: 0-1 years of frequent practice in the technique(s) listed.

• Intermediate: 2-4 years of frequent practice in the technique(s) listed.

• Advanced: 5+ years of frequent practice in the technique(s) listed.

• All Levels: Encompasses all of the above; all are welcome.

FEES

Program fees cover instruction, shared dormitory housing, meals, and basic supplies. Program fees are indicated by A, B, C, D, E, or F at the end of the course description. A housing upgrade is optional with an additional fee. A payment plan request may be arranged.

S U M M E R + FA LL P R O G R A M F E E :

A = US $1,790 | Fall 1 (6 days) B = US $2,030 | Fall 2 (7 days) C = US $2,270 | Session 3 (8 days) D = US $800 | Youth Camp add-on in Session 3 (8 days) E = US $ 3,230 | Sessions 1, 2, and 6 (12 days) F = US $ 4,670 | Sessions 4 and 5 (18 days) YO U T H C A M P :

During Session 3, Pilchuck is excited to welcome youth ages 8-15. Youth participants must be accompanied by parent or legal guardian who is enrolled in a Session 3 course.

Youth participants will attend the Youth Camp during the daytime while parents study with their own course, rejoining their parents each evening. The campus will enjoy

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Refer to page three (7) for Special Scholarship information.

Some Pilchuck summer courses are eligible for up to three undergraduate college credits through Cornish College of the Arts in Seattle. An additional fee (up to 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.

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.

C O V I D -1 9 A FEW WORDS ABOUT A VIRUS:

While we have presented in this catalog a full season of programs and events to celebrate our 50th Anniversary, we acknowledge that the pandemic marks many future plans with an asterisk. Faced with an uncertain and shifting set of future conditions, we have put together an ambitious program worthy of this milepost in Pilchuck’s history. While we are cautiously optimistic that we will be able to execute the program as imagined, we stand prepared to adjust our plans to fit the circumstances.

Our entire team is reevaluating how we will deliver services, studio safety, and a lively culture of knowledge sharing under a wide range of scenarios. The year off has allowed us a chance to dive deep into our operations and to crowdsource new best practices and technological innovations with studios around the world. Through this process, we have developed strategies to reopen our campus and studios safely and welcome students back to Pilchuck Glass School.

In the face of uncertainty, flexibility and adaptability are key priorities. We will stay flexible and communicate extensively with everyone involved and ask that you all share our patience with the state of the world.

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O P P O R T U N I T I E S : S U M M E R S TA F F / TA & A A 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 educational programs 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 had 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 credit in the store, and travel reimbursement (60% for TAs; 100% for AAs; restrictions apply).

Visit pilchuck.org for application instructions.

Applications Due: February 1, 2021 S U M M E R & FA LL STA F F

Summer & Fall Staff is comprised of artists or artinterested individuals who dedicate time, skill and energy to make the campus experience welcoming and productive for all participants. This is not work-study or a tuition assistance program, Summer + Fall Staff are fully active during the session in a unique way. Arriving a few days before the start of classes, Staff prepares campus and studios to support Pilchuck’s mission—Artists helping Artists further glass education. During the session, Summer Staff participate in their roles, attend meetings, host a gallery opening, run events and activities, have studio access, sit in on artist talks, observe demos, explore the campus surroundings and network with peers and professionals. Through this experience Summer Staff gain valuable skills, expand professional connections, meet new peers from around the world, learn new techniques, have the opportunity to produce work and feel inspired by the dynamic community of artists in action.

Summer & Fall Staff opportunities fall into two categories: Coordinators and Campus Assistants—which roles you apply for depends on your skillset, experience and interest in growth. Each role is important and challenging in its own way and Staff works as a team to succeed. All applicants must be considerate communicators, willing to follow through with the expectations of the roles applied for and the readiness to help based on the needs of the session.

Do not miss this rewarding educational experience happening in parallel with classes. Visit pilchuck.org for detailed information regarding Summer + Fall Staff opportunities and application instructions.

Applications Due: February 1, 2021 34

PILCHUCK RESIDENCIES 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

J O H N H . H A U B E R G F E LLO W S H I P

The EAiR program supports 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.

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.

Visit pilchuck.org for application instructions and the online application form.

Residency Dates: October 6-November 21, 2021 Applications Due: January 15, 2021

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 & Metals 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.org for more information. The 2020 Hauberg Fellowship has been transferred to 2021.There will be no open-application process for 2021, we invite all interested to apply for 2022.

I N N O VAT I O N I N I M A G E R E S I D E N CY

For our fiftieth season, Pilchuck introduces a brand-new Innovation in Imagery residency. This residency will create supported access for two image-based artists to Pilchuck’s unique vitreography and image-making facilities. In 2020, Pilchuck introduced a new Digital Imaging Lab adjacent to the Print Studio. This residency presents an opportunity for inventive image makers to come and explore the potential of Pilchuck’s new facilities and experiment with groundbreaking ways to combine imagery and glass while surrounded by the stunning natural beauty of the campus.

Open studio space and access to the Digital Imaging Lab, Print Studio, and Cold Shop are provided. Residents are provided living accommodations, meals, a $500 materials budget, and $1,000 stipend. Each resident will be asked to donate a print to Pilchuck’s extensive print collection.

Visit pilchuck.org for application instructions and the online application form.

Residency Dates: May 21–June 1, 2021 Applications Due: December 18, 2020 Q U E ST I O N S ?

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

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YOUTH PROGRAMS Pilchuck Glass School is proud to build upon its successful Youth Programs. In early spring and late fall, Pilchuck partners with area youth organizations and services to provide overnight and weekend retreats.

Pilchuck currently partners with Hilltop Artists, Tacoma to offer two immersive weekend retreats for high school-aged glass artists each year; complete with an array of skillbuilding workshops taught by professional artists.

Additionally, Pilchuck is expanding its relationship with organizations and schools for indigenous youth. Through an annual overnight retreat, youth learn various glass art making techniques taught by professional artists who are affiliated with local Native American tribes.

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“Almost all my best friends are people that I met at Pilchuck . . . Whatever role I’ve played in Pilchuck, the dream has become a wildly successful reality.”

Dale Chihuly, Co-Founder

THA NK YO U TO O U R G E N EROUS SUPP ORT E RS

A N D OU R I N - K I N D SU PPO RT E RS: Bullseye Glass, Duncan McClellan Studio, EGL-Lighting, Fremont Antique Glass, Gaffer Glass USA, Gent Glass, Glass Alchemy, Pierini Glass Studio, S12 Open Access and Studio, Yucca Valley Materials Lab, Zircar Ceramics, Inc. TH ANK YOU ! We are grateful to the members of the community whose gifts of time and talent are an invaluable support for Pilchuck. Volunteers play a key role in many of Pilchuck’s events and in our educational programs.

PH OTO C R EDI TS: Benjamin Boshart, Simon Bruntnell, Gina Clyne, Holly Cruise, Andrew Giommarco, Russell Johnson, Alicja Kielan, Byron Marmol, Alec Miller, Roger Schreiber, Ester Segarra, Gottfried Stoppel, Traver Gallery, Gabriel Urbanek, Pollyanna Yokokawa D ESI G N : Carlos Esparza C OV E R I M AG E: Saya Woolfalk, Plant Alchemy 3, 2009 “Pilchuck” and “Pilchuck Glass School” are federally registered trademarks of Pilchuck Glass School.

2021 SUMMER + FALL PROGRAMS

SESSION 1 M ay 2 4 – J une 4

1

JOE DAVID & PRESTON SINGLETARY RAYA FRIDAY CATHY CHASE & PIKE POWERS DAVID SVENSON & KAZUMI SVENSON

T he G athering

TOMAS COLBENGTSON & CARA ROMERO ARTISTS IN RESIDENCE

NATALIE BALL ERICA LORD

GAFFERS

SESSION 2 J une 8 –1 9

2

IRA LUJAN, SPOONER MARCUS

MARTIN JANECKÝ STEPHEN PAUL DAY & SIBYLLE PERET TI GLENN CARTER & JUDITH SCHAECHTER SIBELLEY

C orporis

SIMONE FEZER & MARIA PHILLIPS ARTISTS IN RESIDENCE

HAAS BROTHERS DAWIT N.M

GAFFERS

SESSION 3 J une 2 5 – J uly 2

3

BRANDYN CALLAHAN, AYA OKI

SIMON KLENELL & LEO TECOSKY RAVEN SKYRIVER BETH LIPMAN JESSICA LANDAU & DAVID WILLIS

Family T ies

MARTA CABRAL & DORIE GUTHRIE CURATORS ARIST IN RESIDENCE GAFFERS

MIKA DROZDOWSKA & ASIA STEMBALSKA SAYA WOOLFALK MICHAEL COZZA & SASHA TEPPER-STEWART, KELLY O’DELL

SESSION 4 J uly 8 –2 5

4

MICKE JOHANSSON JAMES DEVEREUX & LOUIS THOMPSON AUTONOMA JAKUB BERDYCH

C R O S S - C U R R E N TS : E U R O PA

MARZENA KRZEMIŃSKA BALUCH LUCA BARBERINI & ARIANNA GALLO CURATOR ARTIST IN RESIDENCE GAFFERS VISITING ARTIST

BLANCA DE LA TORRE SHOPLIFTER KARIN FORSLUND, RASMUS NOSSBRING BENJAMIN MOORE

PILCHUCK.ORG

SESSION 5 J uly 2 9 – A ugust 1 5

5

JAY MACDONELL & MICHIKO SAKANO GRANITE CALIMPONG KIESHA BOLTON DANIEL COYLE

E ncephalon

ANNA MLASOWSKY & C. MAT THEW SZÖSZ ARTISTS IN RESIDENCE GAFFERS NEON GAFFER

SESSION 6 A ugust 1 9 – 3 0

6

TOMMY GREGORY, SABINE MARCELIS PATRICIA DAVIDSON, ROBERT LEWIS MICHAEL HERNANDEZ

FRITZ DREISBACH & HEATHER HARTLE BRI CHESLER MICHAEL FLECHTNER ANTHONY AMOAKO-AT TAH

A nimus

HANK MURTA ADAMS ARTISTS IN RESIDENCE

EBONY G. PAT TERSON NAUFUS RAMÍREZ-FIGUEROA

GAFFERS

FA LL S E S S I O N 1 S eptember 4 – 9

F1

EMILY MCBRIDE , JASON MINAMI

LYDIA BOSS & JOHN HOGAN JASEN JOHNSEN & KAREN WILLENBRINK-JOHNSEN ERIN DICKSON & JEFFREY SARMIENTO EMI FUJITA BENNY HILL ARTIST IN RESIDENCE GAFFERS

FA LL S E S S I O N 2 S eptember 1 3 –1 9

F2

MARELA ZACARÍAS DANTE MARIONI, C E D R I C M I TC H E LL

COREY PEMBERTON RICHARD MARQUIS, THERMAN STATOM & TOOTS ZYNSKY JOYCE J. SCOT T & PAUL RUCKER LAURA DONEFER & MEGAN STELLJES SILVIA LEVENSON NIKKI BARBER ARTISTS IN RESIDENCE VISITING ARTIST GAFFERS

DOUG JOHNSTON & TOMOE MATSUOKA GINNY RUFFNER J A S O N C H R I ST I A N , E R I C M E E K

A P P L I C AT I O N D E A D L I N E S JAN 8

Emerging Artist in Residence (EAiR)

FEB 1

Scholarship & Priority Placement, Teaching Assistants & Artist Assistants, Summer Staff

DEC 18

Innovation in Image Residency

Student applications accepted until courses are filled. For course descriptions and information on how to apply, please visit pilchuck.org.

Questions? Contact the Pilchuck Registrar at registrar@pilchuck.org or 360.445.3111 ext. 29.

P I LC H U C K G L A S S S C H O O L

1201 316th St NW, Stanwood, WA 98292, USA

2

SPEECH-TO-SPEECH

877.833.6341

TTY / ASCII

800.833.6388

FA X : 20 6 .6 21.0 713

P H ONE : 20 6. 62 1. 84 2 2

SEAT TLE OFFICE

FAX: 360.445.5515

PHONE: 360.445.3111

STANWOOD, WA 98292

1201 316TH ST NW

STANWOOD CAMPUS

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

SEAT TLE , WA 98104

2 40 2N D AVE S, SU ITE 100

PILCHUCK GLASS SCHOOL

BE IMMERSED. BE INSPIRED. BE TRANSFORMED.