We have put together a selection of videos that covers various glass working techniques and the artists that use them. Enjoy. We will be adding more videos as we find them.
Alicia Lomne talks about how the the love of science can be merged with art to create a spiritual experience. She works and teaches primarily in the medium of glass, often using her own unique version of the nearly lost technique of pate de verre.
Project scope: Bespoke tables, seating, lighting & sculpture
PP Trysting Tree a semi permanent installation through four meeting rooms, explores the dialogue of unnatural nature using the client’s own waste materials. Boughs made from polypropylene pipe and nylon cable ties hang over a glossy black table and seating module whose surface is inlaid with discarded computer screens.
As transparency is a design guideline for the client, both in architectural design and as a core principle, we sought to take it a step further by allowing the tree and tables to flow through all four rooms, almost ignoring the glass dividing walls. The effect visually unifies the rooms and from certain vantages it is difficult to see where one room ends and another begins.
Encircled by tables and stools, the tree sits at the convergence of the four rooms creating a welcoming hub for face-to-face discussion or remote meetings via computer. Blossom from the tree, visible through illuminated windows in the tables has been assimilated into the technology of the environment. Refracted by lenses and screens sourced from discarded computer monitors, the almost holographic appearance of the blossom bridges the gap between the physical and the virtual.
Historically, trysting trees are places to gather and meet prior to battle, during a hunt or simply to debate. In the more contemporary commercial setting of this London office, this poetic intervention invites people into the rooms from across the globe and enhances the sense of this being a place for meeting in the 21st century.
Materials: Polypropylene pipe; nylon cable ties; stainless steel wire rope; LG HI-MACS; components from 39 decommissioned computer monitors; wood; foam; Fabric: Scuba by Maharam; LEDs and other miscellaneous materials.
David Willis works with glass in many forms. He blows glass and also “paints” huge canvases using glass frit.
Michael Endo experiments with different techniques using glass and paint while preparing for an upcoming exhibition focusing on the apocalypse.
Amanda Simmons works in kiln-formed and cameo engraved glass, inspired by the glass artists of America. Amanda is one of sixteen makers who will be shown at SOFA Chicago with Craft Scotland in November 2013.
Artist Clifford Rainey explores the concept, purpose, reason, and processes employed to formulate the works in his solo exhibition In the Beginning Was Black, displayed at Bullseye Gallery September 4 to November 2, 2013. Rainey’s starting point for the new work is the human experience of loss. Combining this with the physicality of the color black sparked his investigation into the symbolism and the visual elements of this dark dense matter.
Portland, Oregon–based artist Crystal Schenk discusses her current and past sculptures, and how she weaves memory, loss, and fragility throughout her artwork.
She also talks about her large-scale stained glass work, Shelter, which was exhibited at Bullseye Gallery from November 6 – December 28, 2013. This project continues a prior theme in her work, examining the increasing gulf between the lower and upper classes – applying the perceived visual materials of the upper class to a very impoverished way of life as a way of pointing out disparity.
Endo discusses and demonstrates the process of using kilnforming to create fused glass.
An offshoot of Bullseye Glass Company’s biennial Emerge competition, Evolve highlights the new work of previous finalists and award winners, featuring Martie Negri, Nathan Sandberg, and Amanda Simmons.
A glass artist located outside of Bend, Oregon that creates colorful memorials.
Judith is a Philadelphia based artist known for her work in stained glass and enamels.
A visit to the studio of the “father of contemporary glass paperweights”, Paul Stankard.
Combine the many pleasures of this historic, arts-rich city with the opportunity to deepen your artistic practice and enrich your kilnforming skills.
Students spend part of each day immersed in Santa Fe’s splendid natural areas and built environments. The remainder of each day will be in the kilnforming studio at Bullseye Resource Center Santa Fe. Most evenings, students are free to explore the many pleasures of this historic, arts-rich city. A great opportunity for beginning to advanced kilnworkers as well as artists working primarily in other media.
Jon Kuhn likes to play with glass – cutting it, polishing it until it catches the light and throws it off in a million vibrant colors. Enjoy this profile of this world-renowned laminated glass artist.
Deborah Horrell uses glass frit to create vessels that look as delicate as spun sugar.
Argentine-born, Italy-based mixed media artist Silvia Levenson presents an exhibition that searches for order among the chaos.
Sand Casting Video
Amanda Simmons talks about her work shown at Collect 2011 with Craft Scotland.
Four Glass artists in one Oregon Art Beat video.
Toots Zynsky’s distinctive filet de verre (glass thread) vessels enjoy a widespread popularity and deserved acclaim for their often extraordinary, and always unique, explorations in color. Defying categorization, her pieces inhabit a region all their own, interweaving the traditions of painting, sculpture, and the decorative arts.
Take a look at this short film about glass designer Amanda Simmons. Please share so more people can get to see her amazing work! Thank you to R&A Collaborations & Warm Glass UK for providing this film.
Emerge 2014 is Bullseye Gallery’s eighth biennial kiln-glass exhibition for emerging artists.
Growing up, German artist Anna Mlasowsky wanted to be an archeologist. Instead, she focused her curiosity on studying the traditions and habits of glassmaking. “The way we evaluate a material and use its properties is defined by preconceived opinions and boundaries set by traditions,” says Mlasowsky. Her work seeks to challenge preformed behaviors and “raise questions about reality and projection.”
“I am not concerned with craft and technique, I don’t judge things by how they are made, but how they make use of material,” she says. Mlasowsky holds a B.A. from the Danish Design School in Bornholm, Denmark. She received the Kaleidos award in 2010 and was nominated for the European Advancement Award for Young Glass Artists and the Stanislav Libensky Award in 2011. In 2012, she received an Emerging Artist lecture Award from the Glass Art Society. Her work is currently on display in the solo exhibition, Contemporary Traditions at the Glass Museum Ebeltoft.
In her April 2013 Residency at The Studio, Mlasowsky will be creating an installation for her upcoming solo exhibition at The Factory Museum, in Boda, Sweden. Her goal is to materialize sound through a process based on Cymatics, from the Greek word for wave meaning the study of visible sound and vibrations. She will achieve this by sprinkling glass powder on vibrating metal plates connected to a speaker. The glass is then kiln-fired and assembled into a large sound cloud of undulating glass wave forms.
Learn more about the residencies at the Studio at: http://www.cmog.org/glassmaking/studio/residencies
Inspiration for this installation came from the iconic cherry trees of Washington DC. Tom Price constructed a series of sweeping sculptures out of polypropylene tubing, referencing the shapes of the trees and their blossoms. The result was a unique, immersive and site-specific installation, taking over an entire room of Industry Gallery, Washington DC.
Polypropylene tubes; nylon cable ties; ultra fine stainless steel wire rope.
Toots Zynsky’s distinctive filet de verre (glass thread) vessels enjoy a widespread popularity and deserved acclaim for their often extraordinary, and always unique, explorations in color. Defying categorization, her pieces inhabit a region all their own, interweaving the traditions of painting, sculpture, and the decorative arts. The exhibition, Masters of Studio Glass: Toots Zynsky, was on view at The Corning Museum of Glass, April 2, 2011 – December 4, 2011. This exhibition was drawn from the Museum’s permanent collection.
Two trained architects, one living in Montana and the other in Scotland, investigate the meaning of “place” in a duo exhibition of sculpture and collaborative installation: “Conversations: Architectural Responses to Place”.