www .glassartcanada.ca
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www .glassartcanada.ca
CCG fall 2008 B 6/2/09 6:57 PM Page 1 CONTEMPORARY CANADIAN GLASS VERRE CONTEMPORAIN CANADIEN w w w. g l a s s a r t c a n a d a . c a Le pouvoir guérisseur de l’art The Healing Power of Art The art of Katrina Brodie, Red Deer College & Dale Chihuly A publication of the Glass Art Association of Canada Une publication de l’association du verre d’art du Canada Autumn 2008 $10 CCG fall 2008 B 6/2/09 6:57 PM Page 2 CCG fall 2008 B 6/2/09 6:57 PM Page 3 CONTEMPORARY CANADIAN GLASS VERRE CONTEMPORAIN CANADIEN 18 Volume 6, Number 3 Fallr 2008 4 President’s Message/Mot de la Présidence Cover: Jeff Goodman Studios by Silvia Lee. Top: Laura Donefer shares her techniques at Red Derr College. Right: One of the pieces from Drifting 6 14 18 21 26 28 26 Leaves: Healing Through Art. By Brad Copping What’s Happening Healing Power of Art By Jamie Gray Student Showcase: Red Deer College Katrina Brodie By Julia Reimer Dale Chihuly By Matthew Ryan Smith New Products Book Review By Robert Hawthorne French and English translation/adaption française et anglaise Espace VERRE 14 The Contemporary Canadian Glass is published quarterly by the Glass Art Association of Canada. Your views, reviews, opinions and articles are welcome. Please mail submissions to: Contemporary Canadian Glass Magazine, 371 Bronte St. S. Unit 58 Milton Ontario L9T 3K5 www.glassartcanada.ca The Glass Art Association of Canada is a nonprofit organizaton founded in 1983. GAAC is a volunteer, member-run organization uniting a glass community spread over a huge and diverse geographical area. We offer Canadian glass makers, students, businesses, and interested individuals, a communication network through the publication of the Contemporary Canadian Glass and GlassWire, our electronic newsletter. For membership rates and application form, e-mail [email protected] or visit the website www.glassartcanada.ca ISSN 1203-6447 [email protected] Sally McCubbin [email protected] Jamie Gray [email protected] Amanda McBride [email protected] DIRECTORS REGIONAL REPRESENTATIVES Brad Copping President [email protected] Jeff Goodman: Magazine Committee [email protected] Rika Hawes: Website & Scholarship Committee [email protected] Marcia DeVicque: Treasurer/Membership [email protected] Caroline Ouellette: School Liaison [email protected] Amanda McBride: Finance Committee [email protected] David Williamson e Alberta Khethwen Woo at [email protected] Saskatchewan Jacqueline Berting [email protected] Manitoba Jayne Nixon and Kathleen Black at [email protected] Ontario Jeff Goodman [email protected] Quebec John Paul Robinson [email protected] Atlantic Region Lynne Bowland [email protected] STUDENT REPRESENTATIVES Myriam Legault-Monty & Laura Sasseville - Espace Verre Paula Vandermey - Sheridan College Amanda Kosciuk - Alberta College of Art and Design PUBLISHER/EDITOR Yukio Yamada [email protected] DESIGN AND PRODUCTION Harris Media Group [email protected] Contemporary Canadian Glass/Autumn 2008 3 CCG fall 2008 B 6/2/09 6:57 PM Page 4 PRESIDENT’S MESSAGE MOT DE LA PRÉSIDENCE BY BRAD COPPING As I sit here, on the rocks at the edge of the water, Tangamong Lake is calm. A slight wind farther out is creating patterns on the surface, giving the reflection a blurry abstract form. It is late morning and the sun is just starting to warm this west facing slope of tumbled stone. The small maples that line the little creeks flowing into the bay have already acquired red and orange colouring, but as I look across to the old fishing camp there are only hints of colour and the dulling green tones pointing the way to the change in season. The record rainfall this summer has kept things lush far longer than normal, and while the water levels have been much, much higher then last year, they are dropping. The nights are getting cooler and the sunsets have almost reached south to the narrows. We have the good fortune in this country to experience these cycles, these changes, several times each year. They remind me that the changes we experience in our daily lives are part of larger cycles and that we can try to prepare for them and take part in them. Our glass community is no exception to change. The deaths of Megan Kenny and more recently Tony Lee, being the most tragic examples I am aware of. While others have left our community to pursue different paths due to retirement or the changing economic climate, others are forging new directions, and starting new endeavors; Jeff Goodman Studio’s Bahai temple project in Santiago, Chile and the evolution of Fireworks Glass Studio into the Kingston Glass Studio and Gallery being two exciting examples. The glass program at Sheridan College in Oakville under the direction of Koen Vanderstukken, has undergone a complete redevelopment, with a strong emphasis on integrating theory and practice and giving students the ability to major in areas beyond the hot shop. Christian Poulin is also showing us strong leadership and the willingness to embrace change rebuilding both furnaces at Espace VERRE, in Montreal, utilizing electrically powered molybdenum elements. He has also begun the process of leading a dedicated team of Quebec glass artists in developing the next Glass Art Association of Canada conference to be held in May 2010. The city of Montreal has even declared 2010 the year of glass, so we should see major exhibitions in the museums and art galleries. Those of you who attended the Montreal conference in 1996, know that this will be one not to be missed. Tyler Rock’s appointment as the new head of the Glass Program at ACAD in Calgary, heralds positive changes to come, as did his and Julie Reimer’s term as co-presidents of this organization. I am still a little overwhelmed at the boots I have to fill in my role as president, but am grateful for the amazing job they and the continuing volunteer board of directors have done. “The work you do, if it has any meaning, passes to other hands”, is a line from a Jeanette Winterson. This meaningful work will also involve change. The times we find ourselves in demand it. We have the ability to examine the world from our local environments. I believe we must get the world to see what we are doing there. The sun has risen further overhead and my butt is getting sore from sitting on these rocks, time to move. I’d like to hear about the changes you are experiencing, and the ones you would like to see. Please write bgcopping @yahoo.ca 4 Contemporary Canadian Glass/ Autumn 2008 Je suis assis sur les roches au bord de l’eau et le lac Tangamong est calme. Un vent léger au loin crée des motifs à la surface de l’eau avec des reflets de formes abstraites. C’est la fin de la matinée et le soleil commence à réchauffer l’éboulis de roches sur le flanc ouest de la colline. Les jeunes érables, alignés en bordure des petits ruisseaux qui débouchent au sud de la baie, ont déjà pris des tons rougeâtre et orangé. En regardant le vieux camp de pêche de l’autre côté du lac, je ne vois que quelques signes de couleur et une décoloration des teintes vertes. Tous des signes du changement de saison. Les records de pluie de cet été ont rendu la végétation plus luxuriante et plus longue qu’à l’habitude. Le niveau d’eau, beaucoup plus élevé que l’an dernier, commence à redescendre. Les nuits sont beaucoup plus fraîches et les couchers du soleil ont atteint le sud étroit du lac. Nous sommes chanceux dans notre pays de vivre des changements de saisons plusieurs fois par année. Cela me rappelle que les changements dans le quotidien font partis des grands cycles de la vie. On ne peut qu’essayer de s’y préparer et d’y participer. Notre communauté d’art verrier n’y fait pas exception. Je pense que le décès de Megan Kenny et tout récemment de Tony Lee sont des tragiques exemples de ces grands cycles. Même si plusieurs membres ont quitté notre communauté pour la retraite ou à cause de changements climatiques et économiques pour suivre d’autres parcours, plusieurs se forgent de nouvelle orientation et créent de nouvelles entreprises. Deux bons exemples, le projet du temple Baha’ie à Santiago, Chilie, réalisé par l’atelier de Jeff Goodman et l’atelier Fireworks Glass devenu l’atelier et la galerie Kingston Glass. De plus, l’option verre au Sheridan College, Oakville, subit actuellement une restructuration pédagogique complète sous la direction de Koen Vanderstukken, en mettant l’emphase sur l’intégration de la théorie et de la pratique afin de donner aux étudiants les outils nécessaires pour réussir après leurs études. Aussi, Christian Poulin, a démontré ses qualités de direction et son enthousiasme pour l’amélioration lors de l’installation de deux nouvelles fournaises électriques avec éléments molybdènes à Espace VERRE, Montréal. Également, il a formé un comité d’artistes verriers québécois pour préparer le prochain congrès de l’Association canadienne du verre d’art (GAAC) qui aura lieu à Montréal du 26 au 30 mai 2010. Parallèlement, la Société des directeurs de musées montréalais a déclaré 2010 « Année du verre ». Plusieurs musées et galeries d’art présenteront des expositions sur le thème du verre. Tous ceux qui ont participé en 1996 au congrès à Montréal, savent que celui de 2010 sera un événement à ne pas manquer. Par ailleurs, la nomination de Tyler Rock, au poste de directeur général du programme de verre au Alberta College of Art and Design, Calgary, annonce des changements positifs, tout comme ce fut le cas durant son mandat à la co-présidence du GAAC avec Julia Reimer. Je suis encore préoccupé par mon nouveau rôle de président puisque la barre est très haute mais je suis très reconnaissant du travail fait par les membres bénévoles du conseil d’administration. « Le travail que vous faites, s’il est significatif, se transmet aux autres » est une citation d’un roman de Jeanette Winterson que j’ai lu au début de l’été. Ce travail significatif comprend le changement puisque notre époque l’impose. Nous avons la possibilité d’examiner le monde à partir de nos environnements locaux. Je crois qu’il faut comprendre le monde pour savoir ce qu’on y fait. Le soleil est maintenant au zénith et mon derrière commence à être engourdi par les roches. Il est donc temps de bouger. J’aimerais en savoir plus sur vos propres changements ainsi que sur ceux que vous souhaités. Écrivez-moi à [email protected] CCG fall 2008 B 6/2/09 6:57 PM Page 5 CCG fall 2008 B 6/2/09 6:57 PM Page 6 WHAT’S HAPPENING & REVIEWS Brush with Art Visual Arts Award The Canadian Clay & Glass Gallery is pleased to receive this year's Brush with Art Visual Arts Award in recognition of the Gallery's School Programs Facilitator Project. Since its significant expansion in 2001, the Canadian Clay & Glass Gallery's Elementary Tour and Studio Workshop Program have been providing the community with quality curriculum-based programming for over 4,900 children who attend programs each year. Based on popularity and steady growth of this program and requests for concurrent "double" bookings, the Gallery is pleased to have the opportunity via this grant to expand its service to the community. Such educational programs support school teachers in the cultivation of arts appreciation and contribute to the continued growth of one of the Gallery's most successful programs. WHAT DOES THE SCHOOL PROGRAM FACILITATOR DO? The School Program Facilitator provides interpretive guidance and cultivates in our young people confidence in the interpretation of contemporary artworks. Through various multi-disciplinary activities they also promote children's hand and eye coordination and creativity. WHAT MAKES THIS PROGRAM STAND OUT FROM OTHERS, WHAT MAKES IT OUTSTANDING? The program provides a structured and stimulating environment in which children can actively engage in learning and succeed outside of the school and home, in addition the program provides entry points for further exploration of various subjects relating to science, history, social science and psychology. Children are offered an avenue for the safe enjoyment of creative expression, fostering the enhancement of children's self-esteem, community awareness and social responsibility. The Gallery's Education Programs will continue to provide an alternative environment to enhance social interaction, build meaning and spark creativity in our community. The Visual Arts Endowment Fund, 6 Brush with Art Grant supports outstanding visual artists or arts organizations in Kitchener, Waterloo, and Cambridge. The purpose of the grant is to support a visual artist or arts organization for a visual art project. Brush with Art is dedicated to helping the local community of artists to work together through partnerships and campaigns that increase public involvement in the arts. www.brushwithart.org Canadian Clay and Glass Gallery. 25 Caroline street N., Waterloo Ontario N2L 2Y5 Tel: 519-756-1882 www.canadianclayandglass.ca The Nature of Diamonds Against the backdrop of spectacular jewellery and stunning gemstones, a rich and storied history of an extraordinary material is told. The Royal Ontario Museum (ROM) is proud to present The Nature of Diamonds, the most wide-ranging exhibition ever developed on the allure of diamonds. From Saturday, October 25, 2008 to Sunday, March 22, 2009, the exhibition will be displayed in the Garfield Weston Exhibition Hall. At this time, the ROM is the sole Canadian venue to host the exhibition during its exclusive North American tour. Royal Ontario Museum, 100 Queen's Park, Toronto, Ontario M5S 2C6 416.586.8000 galerie elena lee PÂTE DE VERRE 7 octobre – 4 novembre. 2008 Vernissage le 7 octobre, 2008 5-7pm Le terme pâte de verre est généralement utilisé pour décrire des oeuvres moulées à la cire perdue, la plupart du temps en utilisant pas des poudres de verre (pâte de verre), mais des morceaux de verre. Plus les morceaux sont grands plus l’oeuvre fini est transparente. Si on utilise des poudres de verre, le résultat est plutôt opaque. La forme originale est sculptée en cire et un moule est fabriqué avec celle-ci. Ensuite le tout est chauffé pour enlever la cire (cire perdue). Dans le vide ainsi créé, on introduit le verre à travers un entonnoir. C’est un procédé trés long, com- Contemporary Canadian Glass/ Autumn 2008 plexe et plein d’embûches, mais qui permet au créateur la plus grand liberté d’expression. Irene Frolic l’utilise pour sculpter ses “têtes”, où chaque détail, l’inclinaison de la tête, le regard, le souffle sur les lèvres est un puissant porteur d’émotions. Donald Robertson est particulièrement fasciné par la capacité du verre à retenir une forme et laisser entrevoir une autre en même temps, comme dramatiquement démontré dans ses formes “Vortex”. Le moulage à la cire perdue permet à ce maître de réaliser les formes les plus complexes comme ses “casques” inspirés par la mythologie grecque et des formes organiques comme les “carapaces”. Le travail recent de Carole Pilon montre le corps humain comme faisant part du monde organique et soumis aux mêmes lois de mutation, mais aussi à son merveilleux pouvoir d’adaptation. C’est pour être capable d’exprimer des thématiques aussi exigeantes que Pilon s’est lancé il y a plus de 15 ans dans l’exploration du moulage à cire perdue. Caroline Ouellette ancienne étudiante de Robertson a elle aussi dû acquérir une belle maitrise dans cette discipline pour concrétiser ses sculptures qui s’apparentent à des fruits succulents, qui éclatent de maturité et laissent couler leur nectar. Kasia Czarnota nous emmène dans son monde de fantaisie avec ses robes de Cendrillion, pleines de luminosité. Quand on regarde la diversité d’expressions artistiques, les riches textures et les nuances de transparence du clair jusqu’à l’opaque, on comprend pourquoi les artistes sont prêt à investir des années d’apprentissage, des mois de travail et le risque élevé de perte, pour travailler cette exigeante technique qu’est la cire perdue. October 7 – November 4. 2008 Vernissage October 7, 2008 5-7pm Kasia Czarnota - Irene Frolic – Carole Pilon – Caroline Ouellette Donald Robertson The term pâte de verre, although meaning glass paste and referring to CCG fall 2008 B 6/2/09 6:57 PM Page 7 glass casting using powdered glass, which when fired is opaque, has been used commonly to describe a form of glass casting that should more precisely be called lost wax casting. In order not to lose transparency, glass chunks are used in place of glass powder. The bigger the pieces, the more transparent the final object. As the name implies the original form is sculpted in wax and used to create a mould. The wax is then melted out (thus lost wax) and the glass is then introduced into the hollow mould through a funnel. It is a complex, time consuming process full of risks, but one that also allows a sculptor the greatest freedom of expression. Irene Frolic has used it for her ‘heads’, that in their quiet slightly inclined pose are powerful bearers of emotions. Donald Robertson’s massive castings can retain one form yet reveal another at the same time. His inquisitive mind touches upon a wide range of objects from ‘helmets’ inspired by Greek mythology, to ‘carapace’ and ‘vortex’ forms that hark back to fossils and geological formations. Carole Pilon’s sculpture evokes the cyclic metamorphosis of nature, its vitality and its infinite power of adaptation. In her latest series she shows the human body as part of that organic world and subject to its transformations through time and accident. The lost wax technique allows her to fashion the complex shapes essential to these multi-media creations. Caroline Ouellette’s luscious fruit-like forms, that push forth with vitality are unthinkable without the artist’s mastery of lost wax casting. The same is true for Kasia Czarnota’s flights of fantasy in her elaborate three dimensional glass dresses. Seeing the diversity of artistic expression, richness in texture, and enchanting luminosity possible with lost wax casting, it is not astonishing that artists are ready to undergo years of training, long weeks of work, and an ever present chance of loss, to be able to work in this demanding discipline. www.galerieelenalee.com 1460 Sherbrooke O., Suite A, Montréal (Québec) Canada H3G 1K4 t: 514-844-6009 e: [email protected] Winifred Shantz Award The 8th Annual Winifred Shantz Award for Ceramics and the first of its kind, RBC Award for Glass mark a significant moment in recognizing the remarkable practices that make up contemporary ceramic and glass art in Canada. The Winifred Shantz Award for Ceramics has been made possible for the past eight years thanks to the generosity and commitment of Mrs. Shantz to recognize and continued on page 8 Contemporary Canadian Glass/Autumn 2008 7 CCG fall 2008 B 6/2/09 6:58 PM Page 8 WHAT’S HAPPENING & REVIEWS Continued from page 7 contribute to the career of ceramic artists in this country. This Award is one of its kind and has become a prestigious award that supports the recipients in their research and career aspirations in the fields of contemporary ceramics. The Winifred Shantz for Ceramics annual award presents $10,000 to Kasia Piech to conduct research and travel to Spain to study the paintings of Hieronymus Bosh in the Museo del Prado, and participate in a residency in Italy to explore concepts of faith and religion. The new partnership with the RBC added a new level of excitement to the Award night and has provided the opportunity to recognize an exceptional artist working in glass. The RBC Award for Glass presents $5,000 to Julia Reimer to travel to Japan and research the influence of Japanese design and culture on modern western craft. In particular, she will examine the influence of the Mingei Movement on vessel design and the role of nature as inspiration for Japanese craft design. She will be conducting her research at the Japan Traditional Craft Center and The National Museum of Modern Art, Tokyo, as well as working directly with mentor, glass artist Masahiro Sasaki. Julia Reimer studied glass blowing at the Alberta College of Art + Design, and enhanced her knowledge of design and traditional European glass making techniques through travels to Scotland, Spain, France and Hungary. Her original design and meticulous craftsmanship have been recognized Flightless and Featherless Photos by Kristy Davison Heather Konschuh is making her work and instructing in Toronto. She received a residency at the Living Arts Centre in Mississauga, Ontario. “My art has been centered on an abstraction of shapes and forms found in my life. Growing up on a cattle and grain farm in the countryside, nature plays a huge part in that. My work is a reflection of my greatest inspiration, the beauty of nature.” “During my studies in Australia, I became fascinated with the parrots in Canberra. They were so beautiful to look at but sounded atrocious. Their powerful beaks are symbolized in my Flightless and Featherless Series of tall blown vases. The spouts on these vessels represent the curvature of their bills while the fresh colors imitate how brightly colored they were.” “When I discovered glass, I had finally found the art form that challenged me in all the right ways; it was physical, intellectually challenging and 3-Dimensional.” Konschuh received her Bachelor of Fine Arts degree from the Alberta College of Art and Design, Calgary, Alberta. She undertook some of her studies at the Australian National University, Canberra, Australia. Visit her new website at: www.konschuh.com Top: TALL APRICOT VASE. Blown and assembled glass 6.5 x 19.7 in. $550 Above: LIME FEATHERLESS. Blown and assembled glass 9.5 x 19 in. $650 8 Contemporary Canadian Glass/ Autumn 2008 Julia Reimer Motion Series, 2003. Blown Glass. 30 X 12 cm. through several awards, including the Canada Council for the Arts. In 2002, she was chosen as an Artist in Residence at the Corning Museum of Glass in New York state. Her work is carried in several Canadian and U. S. galleries and has been exhibited in Europe. Reimer's designs are inspired by the landscape that surrounded her childhood home in the foothills of the Rocky Mountains in southern Alberta. The Canadian Clay & Glass Gallery opened in Waterloo, Ontario, in the summer of 1993 with the express purpose of bringing a national voice to ceramics and glass art in this country. The 2008 awards mark a significant moment in recognizing the development of Clay and Glass in Canada. The RBC Financial Group believes it is important to give back to the community - and that a thriving, innovative art scene is key to the vibrancy and health of our society and culture. That’s why RBC nurtures and invests in Canadian creative talent: a vital natural resource. The Canadian Clay & Glass Gallery has reached a significant milestone as it celebrated its 15th Anniversary on June 19, 2008. www.canadianclayandglass.ca 519.746.1882 Julia Reimer Motion Series CCG fall 2008 B 6/2/09 6:58 PM Page 9 Portrait de famille, un iota de différence (Family portrait) by Michèle Ostiguy (Pate de verre and encaustic) Funny Glass Drôle de verre Espace VERRE celebrates its 25th birthday this Fall, and from September 25th 2008 to January 9th 2009, the gallery invites you to ‘bust your spleen’ with its humour inspired glass art exhibition. A gathering of emerging glass artists has found distinctive ways to make us smile. You’ll be tickled pink with the clown inspired noses made by Tanya Lyons and Mathieu Grodet, Annie Cantin’s cosmic-comedy glasses and Jeffery Ferrier’s irony filled skunk perfume bottle. While everybody is familiar with the expression when pigs fly, Christina Mayr has literally pinned a flying pig to the wall with an arrow. While comic books and cartoons are at the root of Catherine Labonté’s inspiration, you’ll be amused by the witty scenes that she catches under bell jars. Also, you’ll be delighted to discover Karine Demers’ phylacteries, Pascal Leclerc’s playful trucks getting ready for a race and Michèle Ostiguy’s, the junior member of this group, strange family portrait Furthermore, you’ll acknowledge that these glass artists have distinctive senses of humour and that you could trust them with your eyes closed without going astray! The gallery is open to the public from Monday to Friday from 9am to 5pm, as well as every last Sunday of the month from 12pm to 5pm. Regularly, you can see glass work in our studios. Espace VERRE, 1200, rue Mill, Montréal, CANADA, H3K 2B3, www.espaceverre.qc.ca (514) 933-6849 Espace VERRE aura 25 ans en octobre prochain et pour célébrer dans la joie, la galerie vous invite à vous dilater la rate dès le 25 septembre prochain, avec une exposition sur le thème de l’humour. Drôle de verre se tiendra du 25 septembre 2008 au 9 janvier 2009, et regroupera des artistes verriers de la relève qui ont prévu de nous faire sourire. On y verra les nez de clown en verre de Tanya Lyons et Mathieu Grodet, ou les lunettes cosmi-comiques d’Annie Cantin ou encore la parfumeuse mouffette de Jeffery Ferrier. Connaissez-vous le proverbe anglais « When pigs fly » qui signifie « Quand les poules auront des dents » …? Eh bien Christina Mayr va littéralement épingler au mur un cochon volant avec une flèche… Tandis que la bande-dessinée n’est jamais loin de l’inspiration des scénettes comique servies sous cloche de Catherine Labonté, des phylactères de Karine Demers ou des courses de camions de Pascal Leclerc. Et la petite dernière de la grande famille des rejetons d’Espace VERRE, Michèle Ostiguy, nous présente un portrait de famille pour le moins inattendu. Vraiment vous pourrez constater que les artistes verriers ont le sens de l’humour, et qu’on peut les suivre avec plaisir ! La galerie est ouverte au public du lundi au vendredi de 9h à 17h, et le dernier dimanche du mois de 12h à 17h. En tout temps, vous pouvez voir des artistes verriers à l’œuvre dans les ateliers. continued on page 11 Contemporary Canadian Glass/ Autumn 2008 9 CCG fall 2008 B 6/2/09 6:58 PM Page 10 WHAT’S HAPPENING & REVIEWS Robert Held’s Work Presented to People of Beijing During Olympic Games The ached he y of you Robert Held is proud to announce that Premier Gordon Campbell presented a work of his creation to the City of Beijing on behalf of the people of British Columbia. “It is an honour to be a small part of this event,” said Held. “The Olympic Games are a testament to the benefit of hard-work, practice, determination and skill - something we all strive for.” Inspired by our majestic natural surroundings, Robert Held has created a stunning piece of art glass representing our sea, mountains and sky. "Sea to Sky" is a link to the next Olympic Games, being held in Vancouver in 2010. Made with 24K gold-foil mountains, a dichroic glass sky lit by the Aurora Borealis, hand-made murrine stars and the deft hand of an experienced artist, “Sea to Sky” is a beautiful example of what British Columbia has to offer the world. “Soon the Olympic Games will be coming to Vancouver and we want athletes and visitors alike to know that we will be ready to welcome them,” said Held. Robert Held Art Glass has been located in Vancouver, BC for over 20 years and is Canada's largest hot-glass studio. The piece was about 10 inches high and 8 inches diameter. Held used glass, dichroic glass, 24K gold foil and hand-made murrine starsto form the bowl. He repeatedly reheated the piece in between pickingup the glass, colour, gold foil and cane, while manipulating the hot piece to form the desired effects. 10 Contemporary Canadian Glass/ Autumn 2008 CCG fall 2008 B 6/2/09 6:58 PM Page 11 Continued from page 9 Frantisek Vizner at The Corning Museum of Glass Photo by John van Otterloo The Corning Museum of Glass will present an in-depth survey of the work of internationally acclaimed Czech artist Frantisek Vizner. Opening November 1, 2008, Masters of Studio Glass: Frantisek Vizner traces the evolution of the artist's work over 40 years, from his early designs for commercial production to his studio explorations of the modern glass vessel. The exhibition features 40 objects dating from 1962 to 2003, drawn entirely from the Corning Museum's permanent collection. A range of Vizner's distinctive cast and cut studio vessels – luminous, minimal, sculptural forms – are shown alongside examples of earlier blown glass designs for industry, many of which utilize strong color contrasts and an unusual manipulation of surface and interior textures. “This exhibition, the second installment in our Masters of Studio Glass series, offers a true overview of Frantisek Vizner's achievements in glassmaking,” said executive director Dr. David Whitehouse. “For the first time, all of Vizner's works that are held in our collection will be on view together. Masters of Studio Glass builds on our commitment to presenting the work of living artists and to exploring the many dimensions of contemporary glass.” Vizner began his training at the Specialized School of Glassmaking in Zelezny Brod, Czechoslovakia (195356) and then studied at the renowned Academy of Applied Arts in Prague. Under the repressive conditions of postwar Communist rule in Czechoslovakia, artists working in glass were afforded greater freedom than those working in other media; abstraction was considered to be less threatening in glass, and other decorative arts, than in painting or sculpture. While working as a professional designer for the Czechoslovak State Glassworks at Teplice (196267) and at the Centre for Arts and Vase, Frantisek Vízner, 1973. Colorless, transparent cobalt, and orange glasses; cased and mold-blown with pickup decoration. H: 19.1 cm, Diam: 14 cm, gift of Barry Friedman Ltd. Crafts in Skrdlovice (1967-75), Vizner tailored his approach to the material to take advantage of the specialized techniques practiced at the glassworks. However, in some cases, his unapproved designs were produced without his supervision. It was not until he left the Czechoslovak glass industry to pursue a career as a studio artist that he gained more control of the artistic process; full control of his career did not come until after the fall of communism in Czechoslovakia in 1989. Vizner's artistic intent is best expressed in his translucent studio works, minimal vessels that occupy the shifting boundary between function and non-function. These reduced forms, with their velvety, acid-etched and sandblasted surfaces, are characterized by crisp, articulated lines and deep, jewel-toned colors. “Vizner has dedicated his artistic practice to the development of a modern concept for the vessel,” said Tina Oldknow, curator of modern glass. “While the objects he creates are based on the shapes of functional bowls, plates, and vases, we best understand their pure and simple volumes as non-functional, sculptural forms.” Masters of Studio Glass: Frantisek Vizner will be on view November 1, 2008 - March 22, 2009. The series will continue with a survey of the work of American artist Richard Meitner. continued on page 12 Wood-fired kiln/furnace that was a joint effort between The Corning Museum of Glass and Corning Community College Ceramics department, in Corning, NY. The kiln/furnace is capable of both firing ceramics and melting glass for glassblowing. It was lit on August 4, 2008, fed wood continuously for 24 hours, and glass was blown on the afternoon of August 5. The furnace was not only used to melt glass, but also served as the glory hole. The two organizations will fire the kiln/furnace up during the Glass Art Society Conference in Corning in 2009 and provide demonstrations to conference participants. Contemporary Canadian Glass/ Autumn 2008 11 CCG fall 2008 B 6/2/09 6:58 PM Page 12 WHAT’S HAPPENING & REVIEWS Continued from page 11 Jiri Harcuba and April Surgent Traces of Ourselves Bullseye Gallery is pleased to present the work of up-and-coming American artist April Surgent and Czech engraving master Jiri Harcuba. Their pieces, which developed out of an exciting joint residency, will be exhibited from October 7 - November 22, 2008 in Traces of Ourselves. “Life is a dialog,” proclaims Harcuba, a “dialog with oneself as well as others.” Through engraving, Harcuba stretches this dialog across history to connect the present with the noted historical figures he portrays, his influences from philosophy and the arts. “All my ancestors worked with glass,” he explains, “I am showing the relationship of prehistoric carving and contemporary art. We are the link between the past and the future.” While history may offer insight into the present, Harcuba acknowledges that there is still a great deal of extraneous information to wade through in the search for truth and inspiration. “To be able not to know is the biggest art of all,” he remarks. “The task of a teacher is to discover the worthful. The role of the school is to draw near history, to discover it's greatest treasures and find inspirations for contemporary creativity.” Fittingly, through his art, Harcuba ends up committing himself to this same historical record that he depicts. “By engraving, we leave traces,” he notes, “traces of ourselves.” Having refined her technique in glass engraving under Harcuba, April Surgent has focused her own art Photos by P. Leonard Top: Salvador Dali, Jiri Harcuba, 2008. Fused and engraved glass. 16.125 x 16.125 x .25 inches Left: Crossing Eurobodalla, April Surgent, 2008. Fused and cameoengraved glass, 14.375 x 10 x 2.25 inches installed. 12 Contemporary Canadian Glass/ Autumn 2008 clearly on the contemporary realities of travel and culture. “In a day and age when travel has become a commodity,” says Surgent, “our exposure to different cultures and places is changing our identities, morals, beliefs and art.” Yet even as she looks outward, her pieces remain very personal. As she explains, “My work is both a record and reaction to our global communities and life as I experience it. I keep in mind that everything is only as I perceive it to be, yet nothing is as it appears. I question the way that I see and understand myself through my surroundings. I capture what I have discovered to tell silent stories of contemporary life.” Jiri Harcuba was born in Harrachov, in what is now the Czech Republic, where he apprenticed in the region's renowned engraving studios, developing his hand at portrait engraving and medallions. In addition to founding the Dominik Biman School, a traveling glass studio dedicated to teaching traditional glass techniques, Harcuba has taught around the world at institutions including the Pilchuck Glass School, the Corning Museum of Glass, the Royal Academy of Art in London, and the Academy of Applied Arts in Prague. He is the recipient of the 1995 Rakow Commission from the Corning Museum of Glass and Lifetime Achievement Awards from UrbanGlass and the Glass Art Society. April Surgent has studied glass in Denmark, the United States, and Australia, where she graduated with honors from Australian National University's School of Art in Canberra. In 2003, Surgent received a scholarship to Pilchuck Glass School to learn cold-working and traditional cameo-engraving techniques from Jiri Harcuba. Her work was a Director's Corner Selection for the e-merge 2004 competition and is featured in the collection of the Chrysler Museum of Art. Bullseye Gallery 300 NW 13th Avenue Portland, OR 97209 USA 503-227-0222 www.bullseyegallery.com CCG fall 2008 B 6/2/09 6:58 PM Page 13 Message in A Bottle: Emerging artist Bevin Tetarenko’s current body of work Message in a Bottle was recently displayed at the Mainspace Gallery of the Untitled Art Society May 16 to June 7, an artist run centre in Calgary Alberta. Tetarenko’s exhibition, Message in a Bottle, was funded by the Alberta Foundation of the Arts Projects Visual Art Grant. This exhibit is based on the metaphor of a message in a bottle. The metaphor searches for truth in a world based on theoretical conjecture exploring what is fact and fiction. Tetarenko chose quotes from an array of philosophers like La Rochefoucauld, Confucius, and Saint Augustine as reference to historical ideologies. Tetarenko’s knowledge of glass is apparent upon viewing Message in a Bottle. Every one of the sixteen light boxes had hours of attention invested including hand cut text, well crafted frames and carefully slumped glass. The wall mounted light boxes illuminate a peaceful glow reminiscent of a computer or television screen projecting information. The glass in each box is a positive image of a bottle, kiln slumped, creating a three dimensional form. Each bottle has its own aesthetic shape referencing the style of the specific historical and cultural period of the quoted philosopher. A sculpture of a glass plinth sits in the center of the room, inside are glass bottles with messages sealed inside. An audio component was involved in the exhibition. As you walk around the space intimately studying the light boxes and plinth a recording of random crashes of breaking glass pierces the air. It was intriguing to see the viewer’s reactions to the unsettling sound. This exhibition arouses an intellectual study of philosophical theories relating to the idea that fact and truth exist only because of the constraints of our societal boundaries. Special Thanks to the Alberta Foundation for the Arts. By Rebecca Jackson BFA Each year, The Corning Museum of Glass, New York, USA, conducts a worldwide competition to select 100 images of new works in glass. The selection is made by an international jury. The New Glass Review 29 features the pieces created between October 1, 2006 and October 1, 2007. A total of 921 individuals and companies representing 42 countries submitted 2,600 images. Each applicant could submit three images of work. To obtain a copy contact; The Corning Museum of Glass. 800-723-9156. E-mail: [email protected] Website: www.cmog.org The deadline is October 1, 2008 for New Glass Review 30. See www.cmog.org for details or contact Violet Wilson at (607) 974-8451. Contemporary Canadian Glass/ Autumn 2008 13 CCG fall 2008 B 6/2/09 6:58 PM Page 14 PAR JAMIE GRAY The Healing Power Le pouvoir guérisseur When difficulties arise, the temptation to crawl into bed and pull the covers up over one’s head can be very strong. In those situations, the courage required to get up and do what is needed seems tough to dredge up. The most dire circumstances call for a brand of courage that can enter the realm of the heroic. This level of bravery is reached for by many who struggle daily, but more rare is that extra something that drives a person to go above and beyond their personal anguish in order to bring awareness, encouragement, and purpose to others. This is the case for an extraordinary glass artist, Leslie Rowe-Israelson, who along with her sisters, Melanie Rowe and Megan Parks, has initiated a glass and metal performance-art project as a creative response to Leslie’s battle with cancer. The project is called Drifting Leaves: Healing Through Art. Early this year, Leslie was diagnosed with Malignant Melanoma Clarks Stage Three skin cancer and a malignant melanoma on her ankle was removed. Further surgery was required to repair a nicked lymph gland, which was painful and discouraging as infection set in and healing slowed for a time. However, far from crawling under the covers, Leslie dealt with this frightening situation in her typical fashion. She determined to do what she could to facilitate healing in herself the way she knows best: through art. The Drifting Leaves project began with the idea that small 14 Contemporary Canadian Glass/ Autumn 2008 glass leaves could be created which would symbolize the peace and tranquility of the fall of leaves from their trees, drifting about in warm autumn winds. That serene image combats the fear and despair which can so easily overwhelm when cancer strikes. Each leaf represents rejuvenation, hope, and a time of rest. Every one also represents a voice, a person – someone who has battled cancer. Handcrafted leaves are being collected and attached to a sculpted metal tree, created by artist Kevin Kratz of Nelson, B.C. who lost his father to cancer. The significance of the tree is found in the imagery of its strong foundation and its flexibility which allows for bending but not breaking during the damaging storms of life. This sculpture is intended to become part of a performance piece to be shown at the Glass Art Society Conference in Corning, New York, next June. Under the tree on the stage, dancers will perform to Leonard Cohen’s song “Hallelujah.” The names of those battling cancer, on whose behalf the leaves have been made, will be read out. At the end of the performance all but one of the glass leaves will be handed out to the audience. The single remaining leaf will symbolize both the strength to survive all odds and rebirth. As this idea has grown and the word spread, many artists have begun to participate by making leaves on behalf of themselves or a loved one, and sending them to Leslie to be included in Drifting Leaves. Glass artists in groups and guilds worldwide have been caught up by the passion of this international collaboration aimed at healing hearts and creating awareness, and the leaves continued on page 19 CCG fall 2008 B 6/2/09 6:58 PM Page 15 of Art de l’art Lorsque nous devons faire face à des problèmes graves, il est extrêmement tentant de retourner au lit et de se couvrir la tête avec les couvertures. Parfois, il semble difficile de trouver le courage nécessaire pour affronter les problèmes. Les pires circonstances exigent que nous trouvions un courage presque héroïque. Ce niveau de bravoure est atteint par des gens qui doivent se battre chaque jour. Ils ont un petit quelque chose qui les poussent à dépasser leur angoisse pour démontrer, encourager et donner une raison d’être aux autres. C’est le cas de l’extraordinaire artiste verrier Leslie RoweIsraelson qui a initié avec ses sœurs Mélanie Rowe et Megan Parks, le projet de créer une sculpture de verre et métal accompagnée d’une performance pour représenter une façon créative de lutter contre le cancer. Le projet s’intitule Drifting Leaves: Healing Through Art (Les feuilles qui s’amoncellent : la guérison par l’art). Au début de cette année, Leslie a reçu un diagnostique atteinte de cancer de la peau. Un mélanome malin Clark de niveau III a été extrait d’une de ses chevilles. En plus, elle a subi une deuxième intervention chirurgicale pour soigner une glande lymphatique. Cela fut très pénible et décourageant car il y a eu une infection qui a ralenti la guérison. Toutefois, loin de se cacher sous les couvertures, Leslie a affronté cette affreuse situation d’une façon typique de son caractère. Elle s’est déterminée à faire tout ce qu’elle pouvait pour faciliter sa guérison en faisant ce qu’elle connaissait le mieux : de l’art. Le projet Drifting Leaves repose sur l’idée que de petites feuilles en verre symbolisent la paix et la tranquillité des feuilles qui tombent et s’amoncellent lors des vents chauds d’automne. Une image sereine pour combattre la peur et le désespoir qui nous envahissent lorsqu’on est foudroyé par un diagnostic de cancer. Chaque feuille représente le renouvellement, l’espoir et le répit. Elle représente aussi une voix, une personne qui lutte contre le cancer. Des feuilles faites à la main sont accumulées et attachées sur un arbre de métal sculpté par l’artiste Kevin Kratz de Nelson, Colombie-Britannique, dont le père est décédé du cancer. Le symbolisme de l’arbre fait référence à ses fortes racines et sa flexibilité qui permet de fléchir sans se briser durant les tempêtes de la vie. Cette sculpture sera présentée lors d’une performance au congrès du Glass Art Society en juin 2009 à Corning, New York. L’arbre sera installé sur scène et des danseurs évolueront sur la chanson Hallelujah de Léonard Cohen. Les noms de ceux qui luttent contre le cancer, pour qui les feuilles ont été créées, vont être lus à voix haute. À la fin de la performance, toutes les feuilles en verre, sauf une seront remises au public. Cette dernière feuille représente la force de survie contre toute attente et la rémission. L’idée et le message de ce projet ont été rapidement adoptés par plusieurs artistes qui ont décidé de participer à la fabrication de feuilles, pour eux-mêmes ou pour des proches touchés par cette maladie. Des groupes et des associations internationales d’artistes ont été suite à la page 19 Contemporary Canadian Glass/ Autumn 2008 15 CCG fall 2008 B 6/2/09 6:58 PM Page 16 RED DEER COLLEGE STUDENT SHOWCASE Prochaine génération d'artistes Next Gen Artists 1 3 2 SERIES at Red Deer College (RDC) is right in the heart of Alberta. Long-time running and ever popular for adults, SERIES Summer School of the Arts is fitted for all artists – from beginner to seasoned pro. SERIES runs throughout July and August and offers week-long world class instruction, hands-on experience, social and educational events. RDC has been honoured to have Laura Donefer at RDC several summers in a row. She states that SERIES is “one of the only places I teach anymore as it’s such a funky, small, hole-in-the-wall secret program”. Other artists such as Leonie Norton from Australia, David Moore and Pat Keenan were on campus for the 2008 Series Summer School of the Arts. New information for SERIES 2009 will be available in January 2009. Visit online www.rdc.ab.ca/continuingeducation or phone (403) 342-3504 to register or receive up-to-date information. 18 Contemporary Canadian Glass/ Autumn 2008 4 CCG fall 2008 B 6/2/09 6:59 PM Page 17 5 7 6 1. Pam Armstrong Unnamed copper-blue bowl- 2008 2 X 9 in dia. hand blown transparent copper-blue glass bowl with clear glass textured bits and a cut and flared lip.. 2. Pam Armstrong Unnamed purple- yellow bowl - 2008 5 x 7inch dia. Hand blown glass bowl Clear glass base gathered and cut using the Donefer technique. 3. Doug Jeffery Purple Red Vase - unnamed- 2008 25h x 15 dia. cm Strawberry glass coil basket with entrained glass bubble. The basket was built from hot bits dipped in strawberry glass frit. Spaces were intentionally opened between the coils. A second bubble of glass was inserted into the basket and blown to size. 4. Doug Jeffery A Study in Texture - 2008 20H x 15dia. cm Coloured glass was overlayed and textured with wrought iron spirals, a Japanese fish scaler, castle nuts and a tagliol. 5. Jane Sustrik Banana Boat Pick-Up - 2008 9h. x 4 dia. inches Yellow colour bar picked up and vase created; red frit picked up once vase shape started; iridescent shards picked-up then vase shaped into design. Final movement was pulling of the tip. 7. Jacqueline Radbourne Blood Vessel - 2008 6h. x 2 inches Heating a chunk of color bar and blowing the vessel,white parts brought in as hot bits at the end. Manipulated the bits then put away in the annealer. 6. Jane Sustrik Spring Ice - 2008 8h. x 5 dia. inches clear vase created, then hot bits applied in strips and sculpted. Some clear hot bits had hyacinths coloured frit applied (to create the purple colour). Contemporary Canadian Glass/ Autumn 2008 19 CCG fall 2008 B 6/2/09 6:59 PM Page 18 Dale Chihuly's Laguna Murano Chandelier at Museum of Glass A pre-Christmas hand-made glass sale co-ordinated by, and in support of, the Glass Art Association of Canada Une vente pré-Noël de verre fabriqué à la main coordonnée par et à l’appui de l'Association du verre d'art du Canada Why Donate? - to promote your work - to support GAAC scholarships and new initiatives - the top submission will receive a one-year free GAAC membership Pourquoi contribuer? - pour promouvoir vos oeuvres -apour soutenir les bourses de GAAC ainsi que de nouvelles initiatives - la donation la plus innovatrice recevra une adhésion gratuite d'une année de GAAC Your promotional material will accompany the object. To better promote yourself. please send business cards or contact information. Vos objets en verre doivent... - ne pas dépasser 5" dans toute dimension - être signés - ne pas être un bol ou un verre - être assez solide pour supporter le transport Afin de mieux promouvoir votre uvre, assurez vous d’inclure votre matériel promotionnel. Particulars: - multiple submissions are encouraged - prices will be assigned by GAAC - all submissions become property of GAAC - non-members welcome Autres informations: -des dons multiples sont encouragés -les prix de ventes seront assignés par GAAC -toutes les donations deviennent la propriété de GAAC -bienvenue aux non-membres All Submissions must be received by Nov. 15th Please send to Jeff Goodman Studio Questions contact Jeff Goodman. We would like to hold these sales across the country – anyone willing to host one on please contact Jeff Goodman studio. Toutes les donations doivent être reçues pour le 15 novembre Jeff Goodman Studio 51 Cranfield Road. Toronto, ON m4b 3h6 Canada t. 416. 532. 8073 f. 416. 532. 8568 [email protected] www.jeffgoodmanstudio.com Nous voudrions tenir ces ventes à travers le pays si vous êtes interessés à organiser une vente dans votre region veuillez contacter Jeff Goodman. Pour toutes autres questions contacter Jeff Goodman. SVP envoyer vos donations à: Jeff Goodman Studio 51 Cranfield Road. Toronto, ON m4b 3h6 Canada t. 416. 532. 8073 www.jeffgoodmanstudio.com [email protected] Photo by Shaun Chappell Your Glass Objects Must . . . - not exceed 5" in any dimension - be sturdy enough to endure shipping - be signed - not be a cup or a bowl The Museum of Glass presents Laguna Murano Chandelier (1996), a majestic Neo-Baroque chandelier created by Dale Chihuly in collaboration with Italian glass masters Lino Tagliapietra and Pino Signoretto. This immense and elegant chandelier of individually blown and sculpted glass elements will be on display beginning Saturday, September 14, 2008 in the Museum's North Gallery. In September 1996, at the conclusion of the event known as Chihuly Over Venice, Chihuly worked with Tagliapietra and Signoretto on the glassblower's island of Murano, in an historic, week-long collaboration. Recognizing the significance of the occasion, collector George R. Stroemple indicated his desire to acquire the chandelier. Uncertain as to whether his home would accommodate such a monumental chandelier, Stroemple requested Chihuly design the work with multiple components, creating flexibility in its display. The chandelier commands approximately 1,500 square feet and includes five separate elements-two suspended from the ceiling and three which rise from the floor. Punctuated by opalescent flames and festooned with fantastical sea creatures, foliate masses, mermaids and kings, this splendid golden-green tangle glows, evoking the Muranese lagoon. “Laguna Murano Chandelier is significant, not only for its exquisite beauty, complexity and scale, but also because of the story associated with it,” comments Museum of Glass curator Melissa G. Post. “To see such a magnificent creation that is the result of a collaboration of three of the world's greatest living glass artists is both inspiring and humbling. We are grateful to Mr. Stroemple for the opportunity to bring this masterpiece to our visitors." Laguna Murano Chandelier will remain on display through April 19, 2009. Info Line 253-284-4750/ 1-866-4MUSEUM. Museum of Glass, 1801 Dock Street Tacoma, WA 98402 Dale Chihuly (American, born 1941) Laguna Murano Chandelier, 1996. Glass, approximately 14 x 8 x 8 feet. The George R. Stroemple Collection. www.glassartcanada.ca 18 Contemporary Canadian Glass/ Autumn 2008 CCG fall 2008 B 6/2/09 6:59 PM Page 19 Healing Power continued from page 14 are drifting in. Leslie sums up the project best: “When we let go of our surface dressing (symbolized by the leaves) we know deep down we will find the strength to grow again. The leaves are mere accessories, but they are nevertheless an important part of the process. It’s like our hair which we cherish, but when lost makes us feel vulnerable, naked and afraid. But then, like the tree, we re-grow that side of ourselves that defines us, that makes us different from one another; and it gives us renewed hope to carry on; to fight for survival.” Leslie’s hope that the Drifting Leaves project is helping to heal her and others is being realized leaf by leaf. As she corresponds with artists around the world and grows in relationship with them, sharing stories and offering support and care, and as she finds new leafy treasures in her daily mail, she finds herself better able to crawl out of bed every day and carry on. An added bonus – the people who are making leaves are talking about how this simple act seems to helping them find purpose and healing as they lend a hand in bringing awareness to the cancer situations that have touched their lives. The creative spirit takes over and, for a while, their sad thoughts are lessened. In a very short time, this project has grown from a simple idea to an international collaboration as artists all over the globe eagerly get involved. “Like cancer, this project has no borders,” Leslie says. “It can touch anyone. Anyone can be involved.” Drifting Leaves is a beautiful instance of an idea turning into action, of artists speaking out with a collective voice, of craftspeople using their tools and skills to make a difference. It’s a great and encouraging example of the healing power of art. Through this global work, glass artists are sending a positive message about survival and support – an embracing of friendships that begin and grow through working together. It’s the spirit of art, and you can be involved by creating a leaf (or two) of your own. If you decide to participate, please be sure the leaf you make will fit into a box no larger than 6”x6”. Apply a catch or hook so it can easily be attached to the structure. Before mailing it, be sure to include a piece of paper with the name of the person on whose behalf you’ve created the leaf. The leaves can be sent to Leslie Rowe-Israelson at RR#4, 1602 – 15 Avenue, Invermere, B.C., V0A 1K4. They should be sent no later than April 15, 2009. If you would like to help with the costs of shipping this project to New York, donations are welcome. If you would like to make a contribution to cancer research, that can be sent to: Cancer Research Society P.O. Box 4724, Station E Ottawa ON K1S 5H9 Telephone: 613 233-9373 Toll free: 1 888 766-2262 On-line donations: www.src-crs.ca Le pouvoir guérisseur suite de la page 15 touchés par la passion de ce projet rassembleur pour apaiser les cœurs brisés et pour sensibiliser le public. Les feuilles continuent donc de s’amonceler. Leslie résume très bien le projet : « Lorsque nous laissons tomber notre façade (symbolisé par les feuilles), nous savons instinctivement que nous trouverons la force de grandir. Les feuilles sont de simples accessoires, toutefois importants au processus. C’est comme nos cheveux que nous chérissons, leur perte nous rend vulnérable, nu et craintif. Mais comme l’arbre, nous rebâtissons ce qui nous définit, ce qui nous rend unique et c’est cela qui nous redonne l’espoir de continuer à se battre et à survivre ». Leslie espère que le projet Drifting Leaves va servir pour sa propre guérison et pour celle des autres, feuille par feuille. C’est en communiquant avec des artistes du monde entier, en se créant des liens d’amitié, en partageant des histoires, en offrant du soutien, en portant attention et en recevant de nouvelles feuilles dans le courrier tous les jours qu’elle trouve le courage de sortir du lit et de continuer jour après jour. Les artistes qui fabriquent les feuilles y trouvent un autre avantage dans ce simple geste en aidant à trouver un but vers la guérison, en sensibilisant les autres à la vie avec le cancer. L’esprit créatif prend le dessus et pour un moment leurs pensées tristes sont adoucies. Rapidement, ce projet a pris de l’expansion, d’une simple idée jusqu’à la collaboration d’artistes internationaux. « Tout comme le cancer, ce projet n’a pas de limites » affirme Leslie. « Cela touche tout le monde. N’importe qui peut y participer ». Drifting Leaves est un bel exemple d’une idée qui s’est réalisée, qui a permis à des artistes de se prononcer d’une voix commune et à des artisans d’utiliser leurs outils et leurs talents pour changer les choses. C’est aussi un exemple encourageant du pouvoir thérapeutique de l’art. À travers cette œuvre globale, des artistes verriers transmettent un message positif sur la survie et le soutien, en posant un geste d’amitié qui se forme lorsqu’on travaille ensemble. Cela représente l’esprit de l’art. Vous pouvez y participer en créant vous-même une feuille (ou deux). Si vous décidez de participer, la feuille doit entrer dans une boîte de taille maximale de 6 x 6 pouces (15,24 X 15,24 cm). Il faut aussi inclure un crochet pour l’attacher à la structure. Avec votre envoi, veuillez inclure le nom de la personne à qui la feuille est dédiée. Les feuilles doivent être envoyées à Leslie Rowe-Israelson au RR 4, 1602 – 15e Avenue, Invermere, B.C., V0A 1K4. Elles doivent être reçues avant le 15 avril, 2009. Vous pouvez aussi faire un don pour aider à payer les frais de transport de la pièce au congrès du GAS à New York. Aussi, vous êtes encouragé à faire un don à La Société de recherche sur le cancer, PO Box 4724, Station E, Ottawa, ON, K1S 5H9. Téléphone : 613 233-9373. Sans frais : 1 888 766-2262. Dons en ligne : www.src-crs.ca Contemporary Canadian Glass/ Autumn 2008 19 CCG fall 2008 B 20 6/2/09 6:59 PM Page 20 Contemporary Canadian Glass/ Autumn 2008 6/2/09 6:59 PM KATRINA BRODIE CCG fall 2008 B Page 21 By Julia Reimer Katrina Brodie recently featured her work in a solo show at the Harris-Warke Gallery in Red Deer, Alberta. The gallery was created after the city of Red Deer, was awarded a Cultural Capital of Canada award in 2003. It is run by a group of local artists, offering exhibition space to the community. Brodie is a second-generation glass artist. Her mother, Anne Brodie has been a program coordinator at Red Deer College for Visual Arts Programs and Series, Visual Arts Summer School. Anne was also the co-chair of the Canadian Glass Conference in 2000 & 2006. So, although Anne is not a glass artist, her close ties to the Canadian glass community qualifies her as an honorary one. When Katrina asked me to review her show this summer, I felt it would be a good opportunity to showcase some of the work being made by emerging artists out west. Although, Red Deer College is bustling with glass activity in the summer, the local galleries rarely feature glass exhibitions. We often imagine culture occurring in large urban centres yet, many glass studios and artists are located in small towns. I often think that the populations in these communities have little sense of the cultural richness that surrounds them. Therefore, it is wonderful that Katrina chose to show her work in her hometown – to create awareness of the glass treasure it possesses. In this review, I chose to interview Katrina instead of doing a traditional review of her show. It is more interesting to hear her words about her work, than my suppositions. Looking at the pieces in the show, I was intrigued and the questions I posed were generated by my desire to know more about this beguiling work. continued on page 22 Opposite page: Top, Shard bowls. Largest, 8" by 8" by 9", the other two are 7" by 7" by 8" Blown and Sandblasted glass, hot shard application. Left: Homes 2: each sphere 4" round. Total piece 22" by 4" by 4". Blown and sandblasted glass, hot shard application. Contemporary Canadian Glass/ Autumn 2008 21 CCG fall 2008 B 6/2/09 6:59 PM Page 22 Poplur continued from page 20 When did you first realize that you wanted to work in glass? I was taking general science at Red Deer College (RDC) when I took a workshop from Lisa Cerny. After another year of science and a year of traveling, I applied to Sheridan College. What draws you to glass as a material? The constant challenge and the fluidity of the material. Also the endless possibilities of what can be made. Who or what were your influences as a glass artist? Darren Peterson is a great influence of mine both with his keen design sense and knowledge of the business side of things. I am also influenced by the supportive people in my life. What inspired you to make this work? I’m not totally sure. Through tons of experimenting these were the pieces that I couldn’t stop thinking about, I just had to make them. I enjoy the process of adding coldworked parts and I also enjoy mark making (that is what I consider my patterns rather than drawing). There is a very pop art vibe to this work, which seems very urban, how does this fit with growing up in a rural environment and exhibiting the work in a rural community? I wanted my first show to be in Red Deer so that I was contributing back to the community that I grew up in. I think the pop art vibe is due to the colourful nature of my style as well as the iconic imagery. I think it relates more to my style than where I grew up. The house motif is present in this work, this motif is very popular and well known in the work of Therman Stanton, what does this motif represent for you? It represents comfort to me. I think everyone needs a place to feel comfortable. Home is very important to me, even though I have lived in many different places – this has always been a key aspect to life. Why are the decorative elements separated from the pieces? I enjoy the process. The glass blowing process lends itself to making functional work and I think that this work is a transition for me to move from functional to sculptural. How does working at RDC impact you as a glass artist? It opened my eyes to the possibilities of what can be made in glass from working with such a wide variety of artists. It was also good to see the way different people made a living working as artists. How did growing up in a rural environment impact your artistic vision? There is a general lack of knowledge about fine craft in many small communities. It sometimes feels impossible to continue compared to 22 Contemporary Canadian Glass/ Autumn 2008 the financial success of all of my non-artist friends who I grew up with. It often feels like there is a lack of acknowledgment that I too am a professional. In terms of how a rural environment influenced my artistic vision at this point, is hard to define those rural influences perhaps later I will see how it has influenced me. The source of my inspiration is not based in nature. For me the glass itself is a source of inspiration and the process of making it. The inspiration for the patterns I create comes for a process of drawing and sketching. I will often look through fabric books and interior design books for ideas. Why are you drawn to create patterns on vessels – there exists a vessel tradition of creating stories or conveying concepts on everyday functional vessels or ceremonial vessels, how does this work fit into this tradition? I would rather create a mood or a feeling of optimism with my patterns. I think I’m drawn to patterns because they are orderly. They make logical sense to me. The set – up and presentation of your pieces in the show is very linear and orderly, can you tell me the significance of this display? It’s a small space and the set up was really based on logic. Where people can stand and walk around the work. Can you describe a bit of the process you use to create these images? The images are all sandblasted in. The shards are made from plates that I blew. I also use graals. Can you talk the graphic, iconic images that are often abstract, why have you chosen these images for your work? The imagery comes from sketches that I develop over time and often go back to after a break. It’s something that I have never really analyzed. I want it to continue coming from wherever it’s coming from. I think the images create the feeling of comfort in me and I try to share that feeling. To me, this work seems to be an extension and achievement of the work I have seen Katrina make in the past few years. It feels resolved and the comfort in the processes is apparent. As many emerging artists can attest, a solo show is an accomplishment. It is difficult to create a body of work when studio access is limited and you are working a day job to pay the bills. At this issue’s press time, the Alberta Foundation for the Arts bought 4 pieces for their permanent collection. In Katrina’s artist statement, she expressed a desire that the pieces bring a feeling of calm or joy to the people who encounter it. For my part, this result has been achieved, the orderly and compact forms convey a steady determination, a trait much in demand for an emerging artist forging a career in glass. CCG fall 2008 B 6/2/09 7:00 PM Page 23 Artist-in-Residence and Researcher-in-Residence Programs: The Studio of The Corning Museum of Glass has an Artist-in-Residence and Researcher-inResidence program, offering artists the opportunity to spend a month in Corning trying new techniques in glass, enhancing their current work, or exploring the techniques of past glassmakers while using the immense resources of the world's leading glass museum. Transportation, as well as room and board, will be arranged and basic supplies provided. For more information call The Studio at (607) 974-6467 or visit www.cmog.org. The deadline to apply for all 2009 residencies is October 31, 2008. Interested artists must send a CD with 10 high-resolution digital images of their work, two letters of recommendation, a written proposal detailing what the artist would like to do during their month-long residency, the best month to participate (generally offered in March, April, May, September, October, and November), and a résumé to: Residency Programs The Studio of The Corning Museum of Glass One Museum Way Corning, NY 14830-2253 *Joint Artist-in-Residence Program with Kohler Arts Center: The Studio of The Corning Museum of Glass partners with the John Michael Kohler Arts Center for a joint Artist-in-Residence program. Artists will spend one month at The Studio in Corning and two to six months in Kohler Co.'s foundry (casting iron or brass) or pottery (slip casting clay) in Sheboygan, WI. Travel, accommodations, supplies, equipment, technical assistance, and a food stipend are all provided. The deadline for applications is April 1, 2009, for 2010 residencies. For more information call The Studio at (607) 974-6467 or visit www.cmog.org. Interested artists must send 20 high-resolution digital images of their work, two letters of recommendation, a brief (200-word) proposal for a unified project incorporating the resources available from both organizations, an application, and a résumé to: Residency Programs -orArts/Industry Coordinator The Studio of John Michael Kohler Arts Center The Corning Museum of Glass 608 New York Avenue One Museum Way, Sheboygan, WI 53081-4507 Corning, NY 14830-2253 Contemporary Canadian Glass/ Autumn 2008 23 CCG fall 2008 B 6/2/09 7:00 PM Page 24 D ALE The Chandeliers and other Critical Insight into his Work T o understand Dale Chihuly’s re-establishment of the decorative, we must reflect upon the history of his stylistic explorations and their impact on his artistic practice. His more recent series, Chandeliers, combine the myriad of styles that characterize his body of work. Dale Chihuly is the enigmatic celebrity artist heralded as the saviour of the decorative and the rejuvenator of craft. As part of a lengthy stylistic process of investigation, experimentation, and exploration, beginning from the late 1960’s, Chihuly restored the ornamental, decorative, and the embellished in contemporary art. His perpetual reconfiguration and metamorphoses of style continually put to question the validity and sustenance of his work. He counteracts and justifies this with a process of extreme stylistic evolution; taking glass to where it has never been or where it was never perceived to be as a means of being the first, the best, and the most important artist to do so. He is credited as the man who almost single-handedly institutionalized glass as a fine art, moving it from the realm of craft to legitimacy and relevance. The natural world influences Chihuly’s thematic exploration of the real, the false, and the sublime. As a result, alien and foreign concepts are introduced into his artistic practice to underline his interests in the surreal. Chihuly’s transformational environments examine these themes in an effort to provide the viewer with the perfect trademark, and his attempt to solidify aesthetic experience. Much of his the perfect visual experience. Immersed recent works, typify in-your-face efforts and exhibited in nature, botanical garto construct a visual overload. It is here dens, and urban areas like churches, that Chihuly pushes the decorative to a corporate headquarters, and institudisruptive and unsettling state of flux, tions, Chihuly transforms the convenexploring unsettling and bizarre envitional environment and installation. ronments while developing and expand- Placing his Chandeliers in the center of ing the uncanny. an environment inevitably creates, as The medium of glass contains gender Chihuly suggests, a “centerpiece” connotations. The solid state of glass is (Chihuly, Artist Statement). The aligned with the masculine. As Donald Chandeliers becomes a focal point of Kuspit explains, “glass in its molten discussion, debate, and engagement. state…is feminine, yieldThe Chandeliers are the ing; in its hardened state it current result (although Dale Chihuly is one of the is masculine, phallic” (34). most prolific and stylistically still in progress), of The solidity and hardness progressive glass artists in Chihuly’s experimentation of the glass object can be with neon, light, form, and recent history. He is credited symbolic of the molten the surreal. In recent exhiwith igniting the advancement of glass art from the state’s erection. bitions, Chihuly has drawn Moreover, in many works realm of craft to so called on his evolving body of of Chihuly, both the phys- 'fine art.' Born in Tacoma, work as a source of inspiWashington in 1941, Chihuly ical characteristics of the ration. First, his studied glass blowing at the glass and its symbolic Tumbleweeds (fig. 1) from University of Wisconsin in the nuances are phallic. Is mid-1960s then attended the 2006 are an amalgamation this an example of symof his investigation into the Rhode Island School of bolic male dominance properties of glass and Design for ceramics. Founder over an environment or of the Pilchuck Glass School neon seen in Glass Forest in 1971, one of the world's sheer coincidence? In (fig. 2), weight and scale in renowned glass blowing insti- the Macchia series (fig. 3), recent works, we see tutions, Chihuly now produces and his interest in the inefChihuly playing with his work in a dynamic group greater height and width, fable or sublime. The environment at his pushing the phallic symmedusa-like forms that jet "Boathouse" studio on Lake bol to dominate its natural Union in Seattle, out in all directions are environment. Washington. With many works inherently unsettling. The Chandeliers are the fetching well over one million They force a visual overculmination of Chihuly’s load of excess onto the dollars (USD), Chihuly has legitimated glass as a comstylistic metamorphosis. viewer, reminiscent of the parable continued on page 26 They are his brand, his medium to painting. 24 Contemporary Canadian Glass/ Autumn 2008 CCG fall 2008 B 6/2/09 7:00 PM Page 25 par Matthew Ryan Smith, University of Toronto, Université de Toronto C H I H U LY Les chandeliers et diverses perceptions critiques de son travail P our mieux comprendre la mier, le meilleur et le plus important résurgence du style décoratif artiste à pousser les limites de l’art verridans l’œuvre de Dale er. De même, il est reconnu comme Chihuly, il faut revoir l’hisl’homme qui a, presque à lui seul, institorique de ses explorations tutionnaliser le verre du domaine des stylistiques et des impacts sur sa métiers d’art vers les beaux-arts et perdémarche artistique. Sa toute dernière mis de justifier cette pertinence. série, Chandeliers, regroupe plusieurs Pour Dale Chihuly, le monde naturel des styles que l’on retrouve dans est une source d’inspiration dans ses l’ensemble de son recherches thématiques sur le Dans l’histoire de l’art, Dale œuvre. vrai, le faux et le sublime. En Dale Chihuly, l’énig- Chihuly est aujourd’hui recon- plus, il introduit des nu comme l’artiste verrier le matique et célèbre représentations étranges dans plus prolifique et le plus proartiste, est perçu sa démarche artistique afin gressiste par son style. Il est comme le sauveur de de souligner son intérêt pour responsable d’avoir sorti l’art l’art décoratif et l’initia- verrier du domaine des le surréel. Les transformateur du renouveau en tions environnementales de métiers d’art pour acquérir métiers d’art. Durant Dale Chihuly poussent le une reconnaissance comme son long cheminement, beaux-arts. Né en 1941 à spectateur à examiner ces depuis la fin des années Tacoma dans l’état de thématiques afin de créer une 60, de recherches, d’ex- Washington, Dale Chihuly il expérience esthétique parpérimentations et d’ex- étudie le verre soufflé à l’uni- faite. Plusieurs de ses pièces versité du Wisconsin au milieu plorations stylistiques, récentes caractérisent des des années 1960. Par la Dale Chihuly a restauré suite, il complète ses études efforts flagrants pour surl’ornemental, le décocharger le champ visuel. Dale au Rhode Island School of ratif et l’embellissement Design pour la céramique. En Chihuly pousse le style décodans l’art contemporatif à un état turbulent et 1971, il fonde Pilchuck, l’érain. Ses reconfiguradérangeant du flux habituel. cole d’art verrier, spécialisée en verre soufflé, reconnue tions et ses métamorL’exploration de ces environmondialement. La production phoses perpétuelles de nements troublants et artistique actuelle de Dale styles remettent bizarres lui permet de Chihuly est réalisée par un continuellement en développer et d’accroître groupe dynamique dans son question la validité et le atelier « garage à bateaux » l’étrangeté. maintien de son travail. près du lac Union à Seattle, Le verre comme matériau Son côté contradictoire Washington. Parce que contient des connotations de est souvent justifié par genres. À l’état solide, le plusieurs de ses pièces ont des recherches excesverre est associé au masculin. été vendues à plus d’un million de dollars (USD), Dale sives de style, lui perDonald Kuspit l’explique Chihuly a légitimé le verre mettant d’être le preainsi : « le verre en d’art comme technique comparable à la peinture. fusion…est féminin et souple, tandis qu’à son état solide, il est masculin et phallique » (p.34). La solidité et la dureté de l’objet en verre peuvent symboliser l’état érectile du verre en fusion. Toutefois, dans plusieurs pièces de Dale Chihuly, les deux caractéristiques physiques du verre avec ses nuances symboliques sont phalliques. Est-ce un exemple de la domination masculine envers un environnement ou une pure coïncidence ? Dans ses pièces récentes, on perçoit que Dale Chihuly joue avec plus de hauteur et de largeur, poussant le symbole phallique à dominer l’environnement naturel. suite à la page 27 Contemporary Canadian Glass/ Autumn 2008 25 6/2/09 7:00 PM Page 26 Photo by Teresa Nouri Rishel Photo by Teresa Nouri Rishel CCG fall 2008 B FIG. 3: Maroon Macchia with Peacock Blue Lip Wrap, 2007 26 x 32 x 28"in. FIG. 1: Temperate House Tumbleweeds, 2006 Missouri Botanical Garden St. Louis, Missouri Photo by Shaun Chappell FIG. 2 : Dale Chihuly in collaboration with James Carpenter Glass Forest #1, 1971-1972 500 square feet Museum of Contemporary Crafts, New York FIG. 4: Mercato del Pesce di Rialto Chandelier, 1996 8' x 5', Venice, Italy FIG. 5: Niijima Tower, 1997 Niijima, Japan Dale Chihuly continued from page 24 baroque. As stated before, Chihuly’s objective is to provide the perfect visual experience, but this visual experience is tarnished and threatened due to the overwhelming nature of the work. His attempt to decorate the space, that is to say beautify or enhance its natural beauty, misses its destination as it becomes so decorative it is disruptive. Chihuly reinforces this notion by adding an element of the alien, saying in an artist statement, “when you hang [the Chandeliers] in space, [they] become mysterious, defying gravity, becoming something you have never seen before” (2006). His attempt at the perfect visual experience is overshadowed by the unsettling quality of such works that have the potential to distance themselves from the viewer. Chihuly Over Venice established the artist as the quintessential American glass artist. It was also the first time that Chandeliers were shown in such number and scale. Mercato del Pesce di Rialto (fig. 4) was placed in a food 26 Contemporary Canadian Glass/ Autumn 2008 market; a truly public sphere. The explosive expressivity and exaggeration of form look like no other work of glass art. In Chihuly Over Venice, the artist pushed the limits of the decorative, the embellished, and the ornamental in search of a new visual language to disperse old notions of the decorative as sub-art or craft. To Chihuly, the success of his Chandeliers lies in “the massing of colour… then shoot[ing] light through them” (Artist Statement, 2006). In relation to Chihuly’s decorative, Kuspit remarks that “in fact, decorative art is often regarded as anonymous and unoriginal, it seems a product rather than a creative expression…” (33). Chihuly counteracts this statement as the Venice works champion the notion of creative expression pushing expression to the limits of visual stimulation. Here, Chihuly plays with organic forms that mimic odd fruit. Like in nature, bright and intensely coloured fruits are the most dangerous to ingest into the human body. This may be true as the visual ingestion of the work is so overwhelming that we reject it mentally. Chihuly’s Chandeliers must be physically connected to the space in which they inhabit in order to hang; this is the trait of a chandelier. Therefore, Chihuly’s work directly implicates and points to the specific building it is placed within. For Chihuly to achieve a complete aesthetic experience; he must use the space that surrounds his work. Without this, the space is not enhanced and the work looks out of place. When Chihuly fails to take space into consideration, the work fails and becomes incredibly vague and ambiguous like his Niijima Tower (fig. 5) from 1997. Chihuly’s work is most effective when the context of the space combines with the decorative, expressing aspects of the work. There is a healthy balance that Chihuly occasionally achieves as many of the Chandeliers blast colour, form, and scale, rendering the work disturbing and prone to failure. CCG fall 2008 B 6/2/09 7:00 PM Page 27 Dale Chihuly suite de la page 25 La métamorphose des styles par Dale Chihuly culmine dans la série des Chandeliers. Ils sont devenus sa signature, sa marque de style et sa tentative pour réaliser une expérience visuelle parfaite. Immergés et exposés dans la nature, des jardins botaniques et des lieux urbains comme des églises, des sièges sociaux et des institutions, les pièces de Dale Chihuly transforment leur environnement et se démarquent des installations conventionnelles. En plaçant ses chandeliers au centre d’un espace, il crée inévitablement, comme le suggère Dale Chihuly lui-même, une décoration centrale (Dale Chihuly, démarche artistique) qui devient le centre de l’attention, d’un débat ou d’un engagement. Ses chandeliers sont le tout dernier résultat (en progrès), de l’expérimentation que fait Dale Chihuly avec le néon, la lumière, la forme, et le surréel. Dans ses récentes expositions, Dale Chihuly s’est inspiré de la totalité de son œuvre, toujours en évolution. En premier, ses Tumbleweeds (fig. 1) de 2006, démontrent un amalgame de ses recherches sur les techniques du verre et du néon, ce que l’on retrouve aussi dans la série Glass forest (fig. 2). Pour la série Macchia (fig. 3), c’est une recherche de pesanteur et d’échelle de grandeur jumelée à ses intérêts pour l’ineffable et le sublime. Les formes médusées qui jaillissent de tous les sens sont naturellement troublantes et visuellement surchargées pour le spectateur et peuvent rappeler le style baroque. L’objectif de Dale Chihuly, mentionné précédemment, est de procurer une expérience esthétique parfaite, toutefois celle-ci est ternie et même menacée par la nature accablante de ses pièces. Dale Chihuly essaie de décorer l’espace, de l’embellir ou de mettre en valeur la beauté naturelle mais il n’atteint pas tout à fait son but car son sens décoratif devient trop surchargé. En plus, il renforce cette notion en ajoutant un élément d’étrangeté. Lui-même a écrit dans une de ses démarches artistiques : « lorsqu’on suspend les chandeliers dans l’espace, ils sont mystérieux, ils défient la gravité et ils deviennent des objets inusités » (2006). Sa tentative de créer une expérience visuelle parfaite est éclipsée par les aspects troublants de ces pièces qui auraient pourtant le potentiel de se distancier des spectateurs. L’exposition Chihuly Over Venice a confirmé la quintessence de l’artiste verrier américain. C’est la première fois qu’il expose ses chandeliers en si grand nombre et à une si grande échelle. La pièce Mercato del Pesce di Rialto (fig. 4) a été installée dans la poissonnerie du même nom, un marché alimentaire central. La pièce est unique grâce à son expression explosive et son exagération de la forme. Lors de cette exposition, Dale Chihuly a dépassé les limites de l’ornemental, du décoratif et de l’embellissement en quête d’un nouveau langage visuel pour disperser les vieilles notions que le décoratif se retrouve seulement dans l’art populaire ou dans les métiers d’art. Pour Dale Chihuly, le succès de ses chandeliers repose « sur les amas de couleurs et la propulsion de la lumière » (Démarche artistique, 2006). À propos du sens décoratif de Dale Chihuly, Donald Kuspit déclare « En fait, l’art décoratif est souvent perçu comme anonyme ou même banal, tout en semblant être un produit au lieu d’une expression créative… » (p.33). Dale Chihuly contrecarre cette déclaration puisque les pièces de l’exposition vénitienne poussent l’expression créative aux limites de la stimulation visuelle. Il joue avec des formes organiques qui ressemblent à d’étranges fruits qui se retrouvent souvent dans la nature. Ces fruits aux couleurs vives et intenses sont souvent poisons pour l’être humain. C’est possiblement le même cas pour l’ingestion visuelle de ces pièces. Elles sont si envahissantes que nous les rejetons mentalement. Avant d’être accrochés, les chandeliers de Dale Chihuly doivent être reliés au lieu de leur installation. C’est d’ailleurs la particularité du chandelier. Donc, les pièces de Dale Chihuly s’imbriquent et font références directement au bâtiment qui les héberges. Pour compléter l’expérience esthétique, Dale Chihuly doit s’inspirer du lieu entourant la pièce. Sans cela, le lieu n’est pas rehaussé et la pièce n’a pas l’air à sa place. Lorsque Dale Chihuly ne prend pas l’espace en considération, les pièces ne fonctionnent pas, deviennent incroyablement vagues et ambiguës comme c’est le cas pour Niijima Tower (fig. 5) de 1997. Les pièces de Dale Chihuly sont plus efficaces lorsque le contexte de l’espace est combiné avec le sens décoratif, pour bien exprimer les aspects des pièces. Il existe un équilibre sain que Dale Chihuly atteint parfois. Par contre, plusieurs des chandeliers sont trop tonitruants au niveau des couleurs, des formes et de l’échelle, ce qui les rend dérangeants et ne donnent pas l’effet escompté. Works Cited/Références : Archer, Michael. Art Since 1960. London: Thames and Hudson, 2002. Dale Chihuly. Artist Statement "http://www.chihuly.com/chands/statement.html" Kuspit, Donald B., Chihuly. Seattle: Portland Press, 1997. Kwan, Miwon. One Place After Another: Site Specific Art and Locational Identity. Cambridge: M.I.T. Press, 2004. Layton, Peter. Glass Art. London: A & C Black, 1996. Contemporary Canadian Glass/ Autumn 2008 27 CCG fall 2008 B 6/2/09 7:00 PM Page 28 HOT STUFF Hot Block Tools is introducing its new bench kukri, a curved heat paddle like no other. See one in action at: http://www.youtube.com/watch?v=seUMFZ62pAI Hot Block Tools, 3710 Liberty Ave Pittsburgh PA 15201 412-683-1700 www. hotblocktools.com This latest Euclid glass texturing kiln is big enough to hold the entire production team! When it comes to kiln space for texturing, fusing or slumping, at Euclid Kilns the sky's the limit. For more information, visit euclids.com or call 1-800-296-5456. Hub Consolidated Murini Chopper After many customer requests we have added a murini chopper to our equipment line. Like the rest of our tools this chopper is rugged, efficient and versatile. It chops square or round murini and has an adjustable cutting width. Cuts 2” to the smallest cane. Contact: Hub Consolidated 690 Rt. 73 Orwell, VT 05760 USA 802-948-2209 [email protected] www.hubglass.com 28 Contemporary Canadian Glass/ Autumn 2008 CBS is proud to announce another new Dichroic glass pattern: Fusion. This latest addition to our growing line is an intensely colored, tightly curved pattern and can be coated with any color on all types of glass. Different colors produce vastly different effects, so please visit our web site to view additional color ideas. For more information and to order, please call Coatings By Sandberg at (714) 538-0888, from 8 am to 6 pm Monday through Friday, west coast time, or visit our web site www.cbsdichroic.com New! All That Glitters is . . . Green! New System 96® Aventurine Green is here! Upon firing, Aventurine Extreme springs to life with supersized flecks of sparkling metallic flake, embedded in a luscious, rich green. Now available from your System 96 Retailer. New 2008 System 96® Catalog His Glassworks, Inc. is pleased to announce a new UV stabilized AntiShatter coating for glass called FlexTec. Flex-Tec is an easy to apply, water clear two part glass coating that will effectively shatter-proof your glasswork. Unobtrusive and virtually invisible from a distance, Flex-Tec will hold your glass art together if it should ever break from impact. While the glass will still break, Flex-Tec will hold the piece together and prevent any glass shards from flying away from the impact point. Please take a look at our videos demonstrating Flex-Tec at: http://www.hisglassworks.com/blog. Flex-Tec is exclusively available from His Glassworks, Inc. 91 Webb Cove Road, Asheville, NC 28804. 828254-2559 or 800-914-7463. www.hisglassworks.com A brand new System 96 product catalog has just rolled off the presses! The 16-page full-color catalog contains photographs of over 500 glass products for the warm & hot glass arts, as well as stunning samples of finished artwork by some of the industries finest crafts people. Get your free copy of the new Catalog from your Art Glass Supplier today or order it online at system96.com. Microwave Kiln This is a chamber specially formulated to allow you to fuse glass in a microwave oven! And in as little as 3 minutes. Chamber at 2.75" is a perfect size for fusing jewelry and such. Come on in and try ours! Price is only $129.99, and exclusively available at Fantasy In Glass,703 The Queensway, Toronto, Canada, M8Y 1L2 (416-252-6868/ Canada-wide-1-800-841-5758) CCG fall 2008 B 6/2/09 7:00 PM Page 29 ORNAMENT Lyndal Osborne: Sept. 21 to Nov. 16, 2008 Osborne has, for almost four decades, collected, ordered, classified and studied the natural world around her, taking elements from it before incorporating them into her artwork. The selected objects include shells, seeds, plants, and rocks. Fabricated items such as discarded wires, computer remnants, and industrial discards are also added to create Ornamenta, an installation that connects landscape and memory. Christine Davis: Sept. 21, 2008 to Jan. 25, 2009 Davis’s work engages and extends feminist investigations in contemporary practice; her work addresses the conception and representation of the body. In "Lens", she presents the viewer with a dress-maker's judy from the 1970s made out of blown glass. This installation evokes associations of how clothing defines one's identity and position within society. Michele Lapointe: Sept. 21, 2008 to Jan. 25, 2009 Lapointe’s "Contes Muets/Silenced Tales" includes glass pillows decorated with many small images of Alice in Wonderland borrowed from John Tenniel's illustrations. Other components include distorted portraits of Alice inspired by photos taken by Fall Exhibitions www.canadianclayandglass.ca Charles Dodgson (Lewis Carroll) and Victorian doll imagery. The works comment and reflect on "silent tales" and the secrets that children hold close to them. Tanya Lyons: Sept. 21, 2008 to Jan. 25, 2009 Lyons combines clear glass with natural objects to reflect moments and emotions. She utilizes glass as a carrier or shell, placing natural objects within it to add colour, texture and a sense of familiarity. Her lavishly decorated dresses evoke the realm of imagination. These sculptures encourage our fantasies to wear them and thus make them functional. Image: Tanya Lyons Ted Goodden: Nov. 23, 2008 to Jan. 25, 2009 Goodden’s fairy tale "Glory Boy" is about balance, "how to become a useful person, and not lose the childlike qualities we value in ourselves and others." According to Goodden, glory traps are those things that suck the wonder out of everyday life. Similarly through stained glass, he argues, "We see things by light, but we don't see light itself, however, stained glass can trap the light and break it up." Goodden's stained glass windows and drawings narrate the journey of the main character, Gert. Above left: Lens Christine Davis 2008 (blown glass) Above: Contes Muets et Alice Michele Lapointe 2006. (Glass, copper-plated, photo collage, glass screen, computer, screen created in collaboration with Pavel Cajthaml). Left: “In Between Here And There Tanya Lyons 2001. (hot worked glass) 7h x 9w ft. Contemporary Canadian Glass/ Autumn 2008 29 CCG fall 2008 B 6/2/09 7:00 PM Page 30 BOOK REVIEW Glass of the Alchemists By Corning Museum of Glass Richard Price - Editor SBN: 978-0-87290-169-8 2008, 356 pp. Hardcover An Alchemist’s Lab and Oratory. Note, the alchemist is shown praying in front of his “oratorium.” 30 Contemporary Canadian Glass/ Autumn 2008 This publication accompanies the exhibition Glass of the Alchemists: Lead Crystal-Gold Ruby, 1650-1750 at The Corning Museum of Glass, Corning, New York, June 27, 2008 to January 4, 2009. About half the book is a detailed catalog of 117 objects that appear in the exhibition. The book also includes a collection of glass fragments from archeologicial excavations in Amsterdam. Alchemy is the forerunner of modern chemistry. Alchemists’ chief aim was the transmutting of the baser metals into gold. They were a strange group. There were some serious scientists who strove to improve the various technological processes of their time. They had a lasting impact on such technologies as metallurgy and medicinals. Some had the knowledge and experience to advance the melting of glass. “The new recipes that enabled the production of lead glass, chalk glass and gold ruby were made possible by the new focus on experimental science,” reports David Whitehouse, Executive Director, The Corning Museum of Glass. This book introduces leading figures in the development of the new glasses of the Baroque age. The first two chapters introduce the concept of alchemy in the 17th century and its relationship to artisans. Five contributions trace developments in European glassmaking and advances made by alchemists/glass technologists. These achievements were beyond the means of common glassmakers. Glass of the Alchemists is aa result of eight principal authors; Dedo Von Kerssenbrock-Krosigk is curator of European glass at The Corning Museum of Glass, Colin Brain is a private researcher who has been studying the history of drinking glasses for 40 years, Olga Drahotova is former curator in chief of the Dept. of Glass and Ceramics at the Museum of Decorative Arts in Prague, Paul Engle is a researcher of the writings of Antonio Neri, Werner Loibl is the former director of Spessart-museum, Germany, Martin Madl is curator of glass and ceramics in the Prague National Museum, William Newman is professor of the history of science at Indiana University, and Pamela Smith is professor of history at Columbia University. Glass art has a rich history. This book educates us in the outstanding improvements in glass making in the 17 century in Europe. The Glass of the Alchemists can be purchased through their GlassMarket - via phone 800.723.9156 or online at http://glassmarket.cmog.org/. The cost is $59.95 plus tax and shipping. CCG fall 2008 B 6/2/09 7:00 PM Page 31 CCG fall 2008 B 6/2/09 7:00 PM Page 32