Light, a source of life

Transcription

Light,
a source of life
Mark PEISER
Light,
a source of life
Mark BOKESCH-PARSONS
Ann WOLFF - Step out 1/8
Photography : Ludger Paffrath
Light, a source of life
Since the beginning mankind learned that light was
resources.
the source of all life on our planet. The venerations
This eternal duo - glass and light – lights everyday
addressed to the Sun god were for centuries the
our skyscrapers and our churches. It is so unique
basis of many religions on all the continents.
and remarkable that this year I asked the artists to
conceive their glass works around the theme of
After mastering fire, mankind has now mastered
light, source of life.
light - whether it be coherent, monochromatic or
It was a real challenge which I asked them to
invisible.
accept for the 2008 Verriales: that light should be
A source of heat and of all colour, light is so
the heroin of their artistic expression. This
profoundly associated with life and birth that
eminently daring and risky theme took them with
it always symbolizes in our language, the
passion to the limits of their creative talents, with
development of thought.
flights of imagination that leave us in admiration.
Since the Age of Enlightenment, light has been
They avoided the pitfall of anecdote because
synonymous
obviously the theme was a major trap for artists
with
discovery,
understanding,
revelation, and illumination.
using glass as their means of expression.
In the advances of our civilization light has been the
In these contemporary works of art, light materializes
principal vector in the development of our
through glass symbols like flame-torches or
knowledge and understanding of our universe. It is
reaches a mysterious state of grace in its magic
glass, unique material, which made it possible to
dance with the glass.
exploit light’s unlimited properties, starting with all
It is a firework display that illuminates the Gallery
the optical instruments which enabled us to
by the play of forms and materials, transparencies
penetrate the secrets of the two infinities, with the
and opacities, and colours and movements in
microscope and the telescope. Galileo was thus
fusion.
able to begin the study of the cosmos without any
Glass and light play an accomplished and silent
metaphysical a priori. Without glass, research and
symphony which vibrates at its heart and transports
science would never have known such fantastic
us at three hundred thousand kilometres per second
progress.
into the depths of unsuspected imagination.
And today still, it is thanks to fibre-optics woven
around our planet that we can communicate by
Internet and also develop the new nanotechnology
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Serge Lechaczynski and Jean Eskenazi
DOUG ANDERSON
For it is the God who commanded light to shine out of darkness, who has shone in our hearts to give
the light of the knowledge of the glory of God in the face of Jesus Christ.
2 Corinthians 4:6
Skylight
Dimensions : 12" x 10" dia.
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GARY BEECHAM
Light
I have always approached glass as a transparent, sometimes translucent, material.
To deny the
light-transmitting qualities of glass raises the question, “Why make it out of glass? Why not wood,
stone, metal or plastic?”
Exploring the idea of light, I chose to make two identical pieces :
- One is cut and polished to glorify the colours of the rainbow and to employ the light-bending and
transmitting qualities of glass.
- The other piece was rough cut and painted black to block the flow of light to and from the glass.
The act of denying light to a potentially beautiful piece of glass gave me a perverse thrill, but it is not
a direction I wish to follow. And it leads me to another question, “How much of the piece is glass and
how much is light?”
Light : Absence and Presence
Dimensions : 7x12.5x6 in.
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RICKY BERNSTEIN
La Reine des Coeurs
“Nothing’s fair and nothing’s free.” One of the bedrock foundations that ordered her life and later mine. She said
it often as though each time was the first rendering of some important truth that needed reminding. How could
someone have so many stories, I often thought. She was generous in their telling and no friend to the silence of
her Quaker upbringing. Raised with brothers on a New England apple farm, she could skip stones and drive a tractor. Far from the debutant her mother imagined. Gender held no boundaries, no limitations. There was nothing she
couldn’t do.
The tattered list on the ‘fridge guided her daily activity and the measure by which she judged whether “Plan A”
would casually morph into “Plan B.” The done deeds were unceremoniously crossed off as the pencil marks she
liberally added grew like unchecked weeds. The list had a life of it’s own. Like the ring of a phone its only mantra
was the song of purpose.
Applying for her first real job she jotted down the perfunctory stuff and brightened when she came to the section
marked “other”: “I can milk a cow, change a flat tire and sing, I’m forever blowing bubbles in Latin.” She got the
job. After 25 years of life in suburbia, she declared without fanfare that the next 25 were hers. Simple as that. She
packed up and headed for Amherst, a small New England college town, bought an old Victorian house and began
her new life. At 55 she’d seen a lot, done a lot and knew just about everything that needed knowing – or so it seemed to us. She was supremely capable, accomplished and always did what she said she would. Always. We thought
of Penrose as the “mother of us all.” Her presence often larger than life as she taught us to not open paint cans
with scissors and the best way to make applesauce. Tolerant more than kind, she encouraged and coaxed from us
the best we had to give as much from good example as anything.
Kneeling on the Craft Shop floor with glue, tacks and new rubber soles I looked up to see a large white-haired
woman in scratched to bits glasses with sparkling eyes and ruddy cheeks. Hands planted firmly on her hips in a
defiant stance, a bit like the statue of David. We met in the Craft shop where the kids on campus came to make
leather belts, silver bracelets and sheepskin mittens. Penny was the head honcho, benevolent ruler and craft city
queen. Almost imperious though decidedly august, like Saraswati, the Hindu Goddess of wisdom, a look of total
understanding emanated from her core. She could tell I really didn’t have a clue what I was doing with my beatup old hiking boots, though I acted as though I did, I’m sure. What attracted her was probably the audacity of this
attempt to re-sole my boots in preparation for a winter camping trip with Danny. It was the sort of thing she’d have
done I suppose, so she seemed amused by the effort. “What,” she said, “are you doing down there?” She calmly
raised an eyebrow and suggested I pop back in to tell her how the trip went. A week passed and I’d not shown up.
She fretted, she told me years later, convinced that my new soles had taken their earthly leave from my boots with
me still perched perilously on some rock face in the clouds. Or worse. When eventually I did return, she was clearly
delighted, a twinkle of relief in her eye. She invited me out to the house for teatime, a ritual we’d share for many
years to come.
Like Superman, the man of steel and hero of my youth, Penrose became forever the hero of my life. Forever and
always the keeper of reason – the voice I still listen for and to when the big questions loom large and the answers
are far from clear. La reine des coeurs…the queen of hearts. An everlasting source of the brightest of lights.
Ricky Bernstein
La Reine des Cœurs
Dimensions : 45"x 36"x 6"
Materials : Painted glass and aluminum,
acrylic and oil paints, mixed media objects.
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Photography: Michael Flower
Soon after, in town, she picked me up hitchhiking starting off to visit my family in Providence. She pulled over in
her red Mustang convertible and told me to hop in. She may have only gone out for a quart of milk, but three hours
later she dropped me off on Rt. 95, a short walk up to my house on 6th street. As I said good-bye to the person who
would ultimately have the most deeply profound moral influence on my life, I shouldered my pack and said, “I’ll do
anything for you – you need only ask.” She laughed and said “OK, I’ll think about that.” Then without a fuss, she
turned around and headed home. I would be reminded of that freely given promise now and again in the 35 years
until her recent passing.
Z O LTA N B O H U S
Light makes life
Mystery
Dimensions : 14,7 x 10,7 x 6,7 in.
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M A R K B O K E S C H - PA R S O N S
Light, a Source of Life: Thoughts on a Theme
A quarter of a century after Leonardo da Vinci’s anatomical observations relating to human sight,
concluding that light enters the eye rather than emanates from it Nicolaus Copernicus challenged the
conceited geocentric notion that planet Earth was the centre of the universe.
Today, in the XXIst century we unquestionably adhere to the heliocentric fact that the Sun star is the
centre of our solar system and it is the Earth’s proximity to the Sun, bathing us in light and heat, which
sustains life on our fragile planet, as we know it.
We humans, children of the sun, need only look to history to remind ourselves of the tenuous
equilibrium between Earth, its inhabitants, and our celestial caretaker. In 1816, known as ‘the year
without summer’, several hundred thousand people perished across the globe due to freezing
temperatures, crop failure, and famine. These cataclysmic circumstances were brought about by the
worst volcanic eruption in 1600 years at Mount Tambora, Indonesia, which contaminated the
atmosphere with noxious gas and ash, blocking out the Sun’s rays to devastating affect.
Now in these technologically advanced times the planet is confronted by another more insidious and
potentially annihilistic climatic phenomenon, global warming. As industrialized nations continue to
spew out more greenhouse gases enveloping the world in a radiation trapping shroud, temperatures
and sea levels rise, seasons and ecosystems are irrevocably impacted, exasperating the problems of
an already over populated, war torn world fighting over depleted natural resources.
Having recently researched these historical and contemporary climatic issues I became captivated by
intensely powerful images of 300,000 mile high ‘fountains of fire’ on the sun’s surface, which inspired
me to explore the physical and symbolic power of earth bound fire.
I have combined media appropriately born of that fire, including ceramics and glass to create
figurative narratives that evoke recollections of ancient times and cultures passed.
The keepers of the flame present themselves through various guises, such as besieged king, loyal
warrior, and sorcerer, who harness and experience the destructive, ritualistic, and mystical properties
and connotations of fire respectively.
In many regards the vitality of fire echoes the passionate, self-destructive human condition in that they
are both fated to consume all around them in an effort to self perpetuate and from the certain ashes
of demise springs forth the possibility of new life and enlightenment. Therefore, my cast of characters
merely echoes my own desire to flourish in uncertain times, and to seek shelter from the dark and
fearful unknown.
Vigil
Dimensions : 21.5’’ x 16.5’’ x 10’’
Kiln cast glass, ceramics, wood, resin, and oil paint.
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WILLIAM CARLSON
"Light" provides the catalyst or language by which we define "Glass" as an art material.
Dramatic or subtle, we are ultimately informed by the mingling of the two as our visual entry.
Opt
Materials: Cast glass and wood
Dimensions: 13 x 13 x 11’’
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D A N I E L C L AY M A N
Over the past four years, my studio work has centered around the creation of large-scale glass
castings that thematically reference the "capturing of light".
One of the many mysteries of light is that it refuses to reveal any of its essence until it reflects on some
thing other than itself.
For instance, the headlight of an approaching car projects light onto objects, but not until there is a
Glaze (2002)
Dimensions: 48.25" x 9" x 8.75"
Materials: Glass
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Photography: Mark Johnston
foggy mist in the air does one see the shape and arc of the beam.
STEVEN EASTON
Perhaps the ultimate metaphor is light itself. In my sculptures, as in so much artwork throughout
history, it symbolizes visible manifestation of the divine in our world. For example, halos and auras are
a nimbus of light which emanates from a person or around an object and are a cross-cultural visual
cue of power and spirituality.
Because light does not appear to have actual mass, it seems magical - energy removed from having
physicality. We see it’s affect on plants and animals and deep in our hearts have a primal gut reaction
of joy to the simple universal human experience of being in sunlight. If God is nature then certainly
light is the hub of that wheel. Light enables visual perception; the phenomena of transparency and
reflectivity sometimes make the medium of glass feel like light itself.
In Solar Temple of Divine Love I frame the age-old practice of sun worship within the context of the
Classical notion of personifying nature, giving what inspires awe a human face. In the instance of this
sculpture, amber and honey-gold glass are merged with the contemporary expression white light,
conjuring up a three- dimensional image of love and light.
"Solar Gods" detail of "Solar Temple of Divine Love".
Each approximately: 6.25 x 4 x 2.5
The entire piece approximately: 35.5 x 15.5 x15.5
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BOHUMIL ELIAS
Bridges, gates and windows are frequent motifs appearing in the pictures and glass sculptures of
Bohumil Eliás. To the artist these signify a sort of interface between the world of our reality and a
wide-open world of unimaginable dimensions.
The subject of “Stairway to Heaven” concerns the time and place of the challenge and the decision of
stepping forward into that unknown land.
From the glass monolith’s base up through to its apex, layer by layer, we can see a growing intensity
of light and experience the feeling of free space.
The sculpture opens like a path - inviting one to fly skywards … and still further.
Text by Ivo Kren, Curator of glass collection, Vychodoceske Museum Pardubice
Les marches du paradis
Dimensions : 38.2 x 18.9 x 7.1 in.
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BOHUMIL ELIAS JUNIOR
In many paintings of the “Madonna” we see a woman bringing the message of the unborn child. There
is a special glow surrounding her.
The silk soft light has no visible external source. It comes out of darkness into our world through that
new life, life renewing itself unceasingly.
Just cast an attentive and loving eye on an expectant mother as she reposes her tired body, silently
awaiting that painful and tender moment of transformation…
Le temps d’attente
Dimensions: 29.5 x 36.6 x 9.4 in
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Photography : G. URBANEK
ANTOINE LEPERLIER
“Light is time, but space is colour.”
Gilles Deleuze - Logique de la sensation
Still alive Fleuve et Stele - Médusa XXXIV
Dimensions: 15,5 x 13,7 x 4,7 inches
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ETIENNE LEPERLIER
"It is words that exist: that which has no name doesn’t exist.
The word light exists: light doesn’t exist."
Francis Picabia
Analogie
Dimensions: 16 x 4 x 15 inch
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MARIA LUGOSSY
Light reveals human stupidity just as it reveals human wisdom. Anatole France said that stupidity is
more tragic than malice, because malice can stop from time to time whilst stupidity remains forever.
The collective man thinks himself perfect. But those who consider themselves among the chosen
perfect are very proud indeed. Being convinced of one’s own perfection is not a case of naivety, and
does not form an integral part of one’s personality: it is pure vanity and presents itself as something
which is dubious, a fabrication, and chimerical. This is why the proud man has a need of other people;
through them he wants to confirm the image of himself that he has created.
These are the thoughts of José Ortega y Gasset as expressed in his book The Revolt of the Masses.
To show the absurdity and the “banality” of the ideas developed in connection with light, to show at the
same time that light can also convey philosophical thoughts to the masses for daily application - that
is a real challenge!
“L’Homme collectif et la Lumière“
Dimensions : 24 x 12 x 13 in.
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SERGE MANSAU
The Best Son
An Ethiopian story recounts how an old man on his deathbed summoned his three sons and explained:
“I cannot divide my possessions into three parts: it would not leave sufficiently useful parts for each of
you. So, I have decided to give all the inheritance to just one son, the one who shows himself to be the
cleverest, the most intelligent - the best of my sons.
On the table there is one coin for each of you. Take it: the one of you who buys what will fill the hut will
inherit everything.”
Off they went: the first son bought straw but it only filled the hut halfway; the second son bought bags
of feathers but they couldn’t fill the hut.
The third son was the one who would inherit, and he had bought just one small object – a candle.
He waited till nightfall, put the lighted candle into the hut which was immediately filled – with light!
Jean-Claude Carrière
Le cercle des menteurs
(Philosophical Tales from around the World)
Le Meilleur Fils
Dimensions : H 80.7’’ x W 78.7’’ x D 19.7’’
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R AY M O N D M A R T I N E Z
Deir el-Bahri… Queen Hatshepsut’s mountain.
When I discovered your mausoleum for the first time I was riding a donkey.
The guide had brought us there by the mountain route; the revelation was sudden, absolute… a cascade of
stones descends from the cliff top in this place where Earth’s respiration and the cosmic forces come
together as a unique entity.
We stayed for such a long time under the orthogonal arcades…
terraces stricken by the heat, inclined surfaces that gently lead from one vision to another… the sun was
going down… Rolland was talking to the guards, and I slipped into the chapel.
The stone carvings were meant to testify to your splendour, your existence, for eternity. But they had been
gouged away, or carried off, or daubed with signs.
They had hammered away your name, your face, your memory.
But we found you anew that same evening - in the immense chaos that is Karnak.
Of such beauty, your obelisk shone out into the night. Your worst enemies had been unable to decide upon
its destruction!
Nothing can extinguish a light that shines so brightly.
Raymond Martinez.
Luxor / Lurs, May 2008
Lumière du Nord
Dimensions : 25 x 14 x 9.5 in
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J A R O S L AV M A T O U S
Fascinating wonders of the nature occur all around us every day. Many times they are discreet or even
completely hidden.
Various fruits grow in the light and warmness of the sun rays. They are swelling slowly from the minuscule germs, they stretch their shapes under diverse coats and skins to transform into the colourful
natural sculptures as a result of this great and exciting process of creation. They have thousands of
forms – playfully decorative, grotesquely bizarre, spectacularly elegant as well as monumental and
bewildering. Probably as an expression of the humble thanks to their “co-creator” many of them hide
a picture of the sun inside.
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Still life
Dimensions: 20 x 16 x 3 in.
Kiwi
Dia: 16 in.
ISABELLE MONOD
From the topic of this year, I keep the light and the color.
Isabelle Monod
1/5/2008
2008.1 rectangle verso
Dimensions : 11 x 6 x 1,5 in.
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WILLIAM MORRIS
“The glassblowing process is very humbling and I have always been appreciative of how much I am able
to get away with. Glassblowing is the closest thing to alchemy that I know of.”
- William Morris
For more than twenty years, William Morris has captivated and intrigued the art community with
hauntingly evocative and beautiful glass sculptures. He has captured the imagination time and again
by creating objects that appear to be ancient stone or wood carvings, not the modern glass sculptures
they actually are. His art speaks of human origins, myth, ancestry, and ancient civilizations. It
symbolizes a harmony between humanity and nature and provides a ghost-like bond to the world
around us – a world that is often forgotten, ignored, and abused.
Morris gathers much of his inspiration from ancient cultures from around the world – Egyptian, Asian,
Native American – all peoples who respected and admired the land they inhabited. Because of this,
Morris’s artwork has become something all its own: culturally distinct and yet familiar to all cultures.
His pieces embody a spiritual quality that sharply contrasts old beliefs with those of the modern world.
These objects speak to our senses and continuously beg us to explore them further.
Amulet
Materials : Blown glass, steel stand
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MATEI NEGREANU
Before it, nothing existed. There is just something behind.
Light is abstract, life also.
The three blows ring out, the curtain opens on emptiness.
The light comes on and splashes a theatrical “decor” where inanimate works suddenly give fiction the
appearance of life: “dream-life of angels”.
la vie rêvée des anges
Dimensions approx : 15 x Dia 10 in.
Materials : Blowglass and various fabrics
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T O M PA T T I
Light is energy.
Light provides vision.
My interest is about how light is revealed in natural or manmade materials.
Light is not the glass.
Light is the energy that reveals itself within the glass.
Glass is the material between.
Glass and light are collaborations of the spirit
Illuminated Axial Field
Dimensions: 24 x 26 x 1”
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MARK PEISER
I look to find meaning in the mist, to divine form from the fog. I wish to make objects that embody light,
that glow with the mist of creation, that allow for the perception of inner and outer spaces simultaneously, with material as an atmosphere of substance and purpose. I have wanted to conjure atmosphere, to sculpt with the clouds.
The Palomar Mirror, which lends its form to these pieces, was intended to be the largest collector of
light in history and to reveal the secrets of the universe. The story of its creation is one of tedious
triumph over material, process and failure.
This piece "Section 1, Detail 1" is a tiny section of the 200" Palomar Mirror in 1/3 scale and offers
details of one of the 36 mounting cavities, brick mould and core structure.
This series is intended as an acknowledgement and tribute to all those who have overcome the boundaries of this seductive and unforgiving material.
Section 1
Dimensions : 15.2’’x13.3’’x13’’
Materials : Cast Opal Glass
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CLIFFORD RAINEY
En-light-en-ment
The act of enlightening.
A philosophical belief in the power of human reason and innovations in political, religious and
educational doctrine.
To give intellectual or spiritual light to impart knowledge.
Enlightenment N° 3 (Nike of Samothrace)
53 x 22 x 14 in.
Glass, wood, metal and gesso
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D AV I D R E E K I E
The Envy of Others
I am always on the look out for analogies and metaphors in my work: so based on this year’s theme I
decided to take the relationship between the sun and the moon as a starting point and to see where
this led me.
I considered their relationship, the sun as the all powerful being, bringing light and life to our planet,
the source of early religions and generally considered to be a good thing; and in contrast, the moon always in the shadow of the sun, having dark connotations to do with madness and nefarious activities
at the dead of night - is seen as not such a good thing.
In fact they both have an important role in our lives. As such, this relationship brought me to think
about envy and how we desire the power and wealth of others, often in an irrational way. We all have
our part to play in life and we can do little about our differences. As such, envy can become a futile
occupation which wastes and occupies much of our time.
- David Reekie, May 2008
The Envy of Others II
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COLIN REID
I chose to interpret the two aspects of the theme ‘Light’ and ‘Life’ separately.
For ‘Light’ I used a familiar image of books to express the light of knowledge. Cast as a large piece the
form of which is derived from books, this work explores figurative and abstract elements of the
positive and negative versions of the same form.
‘Life’ I expressed by casting the form of a large leaf. I am indebted to the staff at the Eden Project in
Cornwall, England, who generously allowed me access to the fabulous Tropical Biome where I found
the inspiration and source for this piece.
Leaf
Dimensions: 59’’ high
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S A L LY R O G E R S
The obvious thing about the word “light” in relation to glass is the visual aspect: it is what glass
contains, reflects, transmits, transcends. But beyond this, there are many different meanings for the
word – including a reference to weight, to a mental or emotional state, to a time of day or weather
condition, to a state of knowledge, to a quality of beauty.
For this year’s Verriales I have addressed the last two concepts in contrasting sculptures:
One is a piece about knowledge, education, learning – and what can happen if those pursuits are
curtailed or censored. The result can be the opposite of light (or enlightenment), and this piece is both
a warning and a commentary on that potential ‘darkness’ of the mind. It is a piece about the importance of critical thinking and life-long learning, whether formal or informal.
The second piece eliminates these weighty concerns, and focuses on the relative simplicity of light and
beauty in both glass and nature. It strives for nothing heavy or complicated, and merely does what
glass does so naturally – absorb and transmit light. It is also a piece that is “light” in meaning, and is
meant to be simply a pleasure for the eyes, and a kind of collective-memory of experiencing the beauty
of the natural world.
TRUTH
is the
first casualty
of
WAR
Blind Baggage
Materials : pate de verre, steel, stainless steel
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JAROMIR RYBAK
Life comes from the emptiness of darkness.
Fervid plasma flies through the frostily inert depths of the dark universe.
A message of new events that happened somewhere in endless space and an endless time ago.
A voyaging torch with a mission to ignite dust somewhere in space - giving birth to new life.
- Ivo Kren, Curator of the Glass Collection, Vychodoceske Museum, Pardubice.
Plasma volant
Dimensions: 40.5 x 40.5 in.
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YA F FA & J E F F T O D D
Glass has played a huge part in our industrialized society. It helps light our homes and cities,
transmits our voice, video and data, transforming our homes and buildings with light and images from
outside. Can you imagine being in a windowless room, unbearable and uncomfortable? We crave
sunlight; it is necessary for our survival.
We have been working together for twenty-eight years and feel fortunate to be able to create works of
art in glass. For this year’s Verriales we chose to make a window and infuse within it a touch of the
rural landscape that surrounds us everyday.
Nature has been the driving force in our work ever since that first spring when the hill behind our
house bloomed in miniature irises.
Recently we have been reflecting and reminiscing about the long journey we have been on and how
much has changed and what has stayed the same.
Our daughter, Rachel, is trying to decide which colleges to apply to this year.
On a road trip to visit a campus we came over a hill and saw an incredible view of a valley, river, and
Journey
Dimensions : 18.5’’ x 17.7’’ x 8.9’’
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Photography : Tom Mills
mountains. From that moment our goal for Verriales 2008 was to bring that view to life in glass.
A L E S VA S I C E K
Light… one of the most complex subjects in the art of Glass.
This material simultaneously making light and being made up of it.
It is also really difficult to find the means of accentuating those properties even more.
I hesitated between crystal, coloured glass, dark or light, and so on.
Finally I chose coloured glass with deep detailing that underlines how light changes according to the
power of the material.
I am still continuing my research into other solutions connecting glass and light – it is a problem that
attracts me more and more.
- Ales Vasicek
Ouvrir l’œil
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Photography: G. URBANEK
Prague, April 2008
J A N U S Z WA L E N T Y N O W I C Z
For a very long time now Janusz has been exploiting metaphors in brilliant fashion, tackling with force
and conviction the various subjects that engross him.
Humour might sometimes steal its way into his creations, without ever becoming anecdotic.
Concession is a word that seems banished from his works.
Flashlight is a luminous case in point.
- Serge Lechaczynski
Flashlight
Materials : Cast Glass
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J A M E S WA T K I N S
James Watkins invokes modern classicism in his monochromatic value studies which play knowledgeably
with iconographic expectation.
His sculptures transform conventional still life subjects into translucent mass and plane.
Familiar objects become oddly subdued, ghost-like forms which convey image without “proper”
density or substance.
Elusive in their translucency; they are not sufficiently shiny to be glass, nor sufficiently ephemeral to
be ice.
They function as material and perceptual transition - a presence that almost isn’t - but one that
mediates two and three dimensions.
- B.C.
Magritte's Seed
Dimensions: 14" x 6" x 5"
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LEAH WINGFIELD
& STEPHEN CLEMENTS
Once again Serge has challenged us with an intriguing subject that is so
broad in it's scope it can be difficult to narrow it to one idea.
Using a material that is so responsive to Light would seem to make the task
simpler, but that was not necessarily the case.
After scratching our heads, staring into space and some discussion,
one simple word inspired us.... Window.
And so,
we open a window,
to shine a light
and
make a connection,
through the minds,
of two people.
Window
Dimensions: 13’’ x 12’’ x 9’’
Materials: Cast crystal, paint
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ANN WOLFF
SEPIA III Nr.1
Dimensions: 50 x 33 x 13 cm
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Photography: Ludger Paffrath
Light – Time – Space – my thoughts go to Albert Einstein
D A N A Z A M E C N I K O VA
The architect and world-famous stage designer Professor Josef Svoboda wrote in my catalogue:
”Dana,
Try to capture the light, attempt to understand it, and give it order!”
And I try…
Dream 08
Materials: Digitally printed collage on
Plexiglas, scratched, painted.
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VLADIMIR ZBYNOVSKY
Thumbing through the remarkable catalogue published by the Moravská Galerie (Brno) entitled “Ejhle
Svetlo“ (Look Light), and thinking about the creative work of Thomas Wilfred and others, I noted these
lines:
“Light is the silent universal expression of the greatest force our senses can grasp.
Is it not therefore logical to conceive of the noblest aesthetic use of light in just this direction, and first of
all express the human longing which light has always symbolized - a longing for a greater reality, a
cosmic consciousness.”
Obviously I adhere to that stance and my own creative work is a most sincere witness. I would quote again
something written in 1995 – to which I can add nothing:
“From darkness springs light. Extraordinary sparkling at the heart not only of our world but of the whole
universe. Do they result from chance, these lines of flight that arrange space and time as well as the
creative energy of the world? It is from the inmost depths of the universe that this glow, this light comes
to us, virtual symbol of projection towards the future. Glass, transcendent substance, reveals light
previously concealed, key to the universe, expression of its own uniqueness.”
La lumière à l'œuvre
Dimensions: ever-changing
70
Photography: Peter Zupnik
Thomas Wilfred
Quoted: Otto Piene, Story of light - Night and Day/ Ad infinitum?
J I R I N A Z E R T O VA
Have you ever seen the sun setting in the autumn woods?
[…] spray, branch, sprig and sprout structures whirl through the darkness of the falling dusk.
They interweave into the ever-varying mosaic of colour surfaces in their fascinating dance.
The tree trunks protrude from the maze of brushwood to support the darkness of the treetops like the
vaults of Gothic cathedrals.
Only the last sharp stripes of the shafts of light penetrate through like messengers of hope for the
sunlight, to touch the ground underneath our feet as godly fingers.
- Ivo Kren, Curator of the Glass Collection, Vychodoceske Museum, Pardubice.
L’arbre I
72
[ M U S E U M S A N D P U B L I C C O L L E CT I O N ]
DOUG ANDERSON
Born in 1952 - USA
Chrysler Museum of Art, Norfolk, VA.
Goodyear Tire & Rubber Corp., Akron, Ohio.
Huntington Museum, Huntington, W.Va.
Corning Museum of Glass, Corning, N.Y.
Rochester Institute of Technology, Rochester, NY.
Columbus Museum of Fine Art, Columbus, Ohio.
Musée des Arts Décoratifs, Paris, France.
Detroit Institute of Art, Detroit, MI.
Glass Art Fund Strasbourg France
Galerie Internationale du Verre, Serge Lechaczynski, Biot, France.
GARY BEECHAM
Born in 1955 - USA
High Museum of Art, Atlanta, USA.
Detroit Institute of Art, Detroit,MI
Musée du Verre, Liège, Belgium.
Frauenau Glass Museum, Frauenau, Germany.
Mint Museum, Charlotte, North Carolina.
Kunstmuseum Düsseldorf, Düsseldorf, Germany.
North Carolina Museum of History, Raleigh, NC.
J.& L. Lobmeyer Collection, Vienna, Austria.
Capitol Bank Collection, Houston, Texas.
Southern Bell.
Price Waterhouse.
Northern Telecom.
RJ. Reynolds.
Glaxo, Inc.
Guilford College, Greensboro, NC.
Asheville Art Museum, Asheville, NC.
Ebeltoft Glass Museum, Ebeltoft, Denmark.
NC Governor’s Western Residence Collection, Asheville, NC.
Hickory Museum of Art, Hickory, NC.
Bergstrom Mahler Museum, Neenah, WI.
Washington and Lee University, Lexington, VA.
Bank of America.
Milwaukee Art Museum, Milwaukee, WI.
SAS Institute.
Numerous private collections worldwide.
Galerie Internationale du Verre,Serge Lechaczynski, Biot, France.
AWARDS
1998 Silver Prize from “International Exhibition of Glass
Kanazawa”,
Kanazawa, Japan.
1996-97 NC Visual Arts Fellowship-Grant.
Three-Time participant in US Art in Embassies Program.
1986 Judge’s Award, Second Jured Exhibition of NC Crafts, NC.
History Museum, Raleigh, NC.
2005 Group show, loaned from Maurine Little Gallery, Turchin
Gallery, Boone, NC
2005 “North Carolina Glass: The Cutting Edge II”, curator Lou
Proctor, Alamance County Arts Council, Graham, NC
2006 “Studies in Color and Form”, Gary Beecham: A
Retrospective, Christian Brothers University, Memphis, TN
RICKY BERNSTEIN
Born in 1952 - USA
Wustun Museum Of Art, Racine, WI
Victoria Arts Complex, Melbourne, Australia
KM Fine Arts, Kachsiung, Taiwan
Center For Northern Thai Handicrafts, Chaingmai, Thailand
Silkpakorn University Art Center, Bangkok, Thailand
Philbrook Museum Of Art, Tulsa , OK
Whatcom Museum Of Art, Bellingham, WA
Rockwell Museum Of Art, Corning, NY
Corning Museum Of Glass, Corning, NY
Museum Of Art, Washington University, Pullman, WA
Fine Arts Museum Of The South, Mobile, AL
The Columbus Museum, Columbus, GA
University Of Oklahoma Museum Of Art, Norman, OK
Art Museum Of South Texas, Corpus Christi, TX
Scottsdale Center For The Art, Scottsdale, AZ
Taft Museum, Cincinnati, OH
Rufino Tamayo Museum Of Art, Mexico City, Mexico
Marco Museum Of Art, Monterrey, Mexico
Morris Museum Of Art, Morristown, NJ
Naples Museum Of Art, Naples, FL
Detroit Institute Of Art, Detroit, MI
Anchorage Museum Of Art, Anchorage, AK
Vaxsjo Glass Museum, Vaxsjo, Sweden
Arts And Crafts Museum, Helsinki, Finland
Newport Art Museum, Newport, RI
Maier Museum Of Art, Lynchburg, VA
Kjarvalsstadir Museum, Reykjavek, Iceland
Cheney / Cowles Art Museum, Spokane, WA
American Craft Museum, New-York, NY
Contemporary Art Museum Of Glass, Valencia, Spain
Walters Art Museum, Baltimore, MD
Hull Museum Of Art, Burlington, VT
Metropolitan Museum Of Art, New-York, NY
Decordova Art Museum, Lincoln, MA
Victoria And Albert Museum , London, England
Musée Des Arts Décoratifs, Paris, France
Toledo Art Museum, Toledo, OH
San Francisco Museum Of Art, San Francisco, CA
National Museum Of Modern Art, Tokyo, Japan
Galerie Internationale du Verre, Serge Lechaczynski, Biot, France
Glasmuseet Ebeltoft, Ebeltoft, Denmark
Cincinnati Art Museum, Cincinnati, OH
Fuller Art Museum, Brockton, MA
Lowe Art Museum, Univ. of Miami, Miami, FL
St. Petersburg Museum of Art, St. Petersburg, FL
Renwick Museum of Art, Smithsonian Institution, Washington,
DC
DeYoung Museum of Art, San Francisco, CA
Racine Art Museum, Racine, WI
Museum of Arts and Design, New York, NY
Museum of American Art, Millville, NJ
International Museum of Skiing, Mammoth Mt., CA
World Bank, Washington, DC
Wagga Wagga City Art Museum, Wagga Wagga, Australia
University of Michigan Art Museum, Dearborn, MI
ZOLTAN BOHUS
Born in 1941 - Hungary
Savaria Museum, Szombathely, Hungary
Hungarian National Gallery, Budapest, Hungary
Janus Pannonius Museum, Pécs, Hungary
Istvan Kiraly Museum, Székesfehérvar, Hungary
Ferenc Liszt Museum, Sopron, Hungary
Bakonyi Museum, Veszprém, Hungary
Municipal Gallery, Budapest, Hungary
Musée des Arts Décoratifs, Paris, France
Musée du Verre, Sars-Poteries, France
Musée des Beaux-Arts, Rouen, France
Kunstmuseum, Düsseldorf, Germany
Stadt Fellbach, Germany
Veste Coburg, Coburg, Germany
Glasmuseum, Frauenau, Germany
Musée de design et d’arts appliqués contemporains, Lausanne,
Switzerland
Corning Museum of Glass, Corning, New-York, U.S.A
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AWARDS
1973 Prize of Nograd country
Hungarian Enamel Biennial, Salgotarjan
1975 Nivo prize of the Ministry of Culture for the relief at
Nagymezö utca, Budapest
1976 Prize of Creation, Vll. Artist’s Camp, Györ
1977 Nivo prize of the Ministry of Culture for the Fountain
of the Mexico-street, Budapest (with Béla Hamori)
1981 Prize “Glaskunst 81”, exhibition, Orangerie, Kassel (D)
1982 Nivo prize of the Ministry of Culture for the Solo Exhibition
at the Museum of Applied Arts, Budapest
1983 Special Prize, Vicointer, International Show of Ceramic
and Glass, Valencia, Esp
1984 Munkacsy-prize
1985 “Coburger Glaspreis” exhibition, Urkunde
1989 Prize of town Papa, Spring Show, Veszprém
1990 Prize of French Interior Designer’s Sindicate
(SNAI), Troyes, Fr.
1991 First prize, Xll. Hungarian Biennial of Small-Scale
Sculpture, Pécs
1997 Merited Artist of the Hungarian Republic
MEMBERSHIPS
National Cultural Fund
Artists’Associations, both at home and abroad.
MARK BOKESCH-PARSONS
Born in 1967 - UK
PERMANENT COLLECTIONS
Museum of American Glass, Wheation Village, Millville, NJ.
Kunstmuseum Dusseldorf, Dusseldorf, Germany.
Frauenau Glass Museum, Frauenau, Germany.
The Corning Museum of Glass, Corning, NY
Kunstsammlunger Der Veste Coburg, Coburg, Germany.
Glamuseum, Ebeltolf, Denmark.
The Scottsdale Center for the Arts, Scottsdale, AZ.
Rockford Art Museum, Rockford,IL.
Muskegon Museum of Art,Muskegon, MI.
Jones Museum of Glass ans Cramics,Sebago,ME.
Hunter Museum of American Art, Chattanooga, TN.
Carnegie Museum of Art, Pittsburgh, PA.
City of Bloomington Cultural District Headquaters, Bloomington, IL.
Dr. Eva-Maria-Fahrner-Tutsek and Alexander Tutsek-Stiftung
Glass Foundation, Munich, Germany.
Museum of Palm Spring, USA
SEL. AWARDS
Artist Fellowship Program, CGCA, Wheaton Village, Millville, NJ.
Niche Award, Niche Magazine, Rosen Group (multi-média
catergol).
Bloomington cultural District Grant, Bloomington, IL.
Illois Arts Council Fellowship Award.
Illois Arts Council Fellowship Finalist Award.
1998/99 Niche Award, Niche Magazine, Rosen Group (cast glass
catergol).
1997 The Sybren Valkema Prize, Glassmuseum, Ebeltoft, Denmark
1991/92/94 Illinois State University Art Department Scholarship,
Normal,IL.
Best of Sho, Glassic Ingenuity, Dearborn Arts Council,
Dearborn, MI.
Baber Award, Illinois State University, Normal, IL.
1991 Michigan Glass Foundation Scholarship.
WILLIAM CARLSON
Born in 1950 - USA
Metropolitan Museum of Art, New york, NK.
Krannert Museum of Art, University of Illinois, Champaign, IL.
Leigh Yawkey Woodson Art of Museum, Wausau, WI.
Columbus Museum of Art, Colombus, Ohio.
Illinois State of Museum, Springfield, IL.
Evansville Museum of Art, Evansville, Indiana.
Kyoto Museum of Modern Art, Kyoto, Japan.
Switzerland
Hokkaido Museum of Modern Art, Sapporo, Japan.
Lannan Foundation, Palm Springs, Florida.
DANIEL CLAYMAN
Born in 1957, USA
The Renwick Gallery, Smithsonian Institution, Washington, D.C.
The Cleveland Museum of Art, Cleveland, OH.
The Milwaukee Art Museum, Milwaukee, WI.
The Tacoma Art Museum, Tacoma, WA.
The Museums of Fine Arts, San Francisco, CA.
Memorial Sloan Kettering Cancer Center, New York, NY.
American Craft Museum, New York, NY.
The Corning Museum of Glass, Corning, NY.
National Geographic Society, Washington, D.C.
Portland Museum of Art, Portland, ME.
Museum of Art, Rhode Island School of Design, Providence, RI.
Charles A. Wustum Museum of Fine Art, Racine, WI.
Museum of American Glass, Wheaton Village, NJ.
The Museum of Art, Fukui, Japon.
The Pilchuck School, Stanwood, WA.
First National Bank of Siam, Chicago, IL.
AWARDS
1997 Artist’s Grant, Rhode Island State Couccil on the Arts.
1995 Artist’s Fellowship, New England Foundation for the Arts.
1995 Artist’s Grant, Rhode Island State Council on the Arts.
1989 Artist’s Grant, Rhode Island State Council on the Arts.
1987 Artist in Résidence, ARTPARK, Lewinston, NY.
1985 St Louis Cristalleries, France.
STEVEN EASTON
Born in 1960 - USA
The Corning Museum of Glass, Corning, NY.
Musée des Arts Décoratifs, Luzerne, Switzerland.
Galerie Internationale Du Verre, Serge Lechaczynski, Biot, France
BOHUMIL ELIÀS
1937-2005 - Czech Repubic
Switzerland
National Gallery, Prague.
Musée des Arts Décoratifs, Prague.
Moravian Museum, Brno.
East Bohemian Museum, Pardubice.
Glass and Jewellery Museum, Jablonec.
Musée des Arts Décoratifs, Düsseldorf.
Yokohama Museum..
Musée des Arts Décoratifs, Paris.
Amstelveen Museum Van der Togt, Nederlands
Museo Vidrio, Monterrey.
City Gallery, Ostrava.
North Bohemian Museum, Liberec.
Takasaki Museum of Art, Takasaki.
Koganezaki Glass Museum, Kamomura.
The Detroit Institute of Art, Detroit.
Museum fuer Kunst und Gewerbe, Hambourg.
London , Victoria and Albert museum
Sars, Poteries museum, France
Scotts Dale Museum of contemporary art, Arizona
Galerie Benedikta Rejta, Louny
The Wustum Museum of Art, Racine, WI
The Houston Museum of Fine Art, Houston, Texas
The Corning Museum of Glass, Corning, NY
Glasmuseum Coesfeld, Ernsting Stiftung, D.
Novy Bor Museum.
BOHUMIL ELIÀS JR
Born in 1980 - Czech Repubic
ANTOINE LEPERLIER
Born in 1953 - France
Musée des Arts Décoratifs, France.
Corning Museum, USA.
Musée de Meisenthal, France.
Musée Unterlinden de Colmar, France.
Hokkaido Museum of Modern Art, Japon.
Musée Ariana de Genève, Switzerland.
Switzerland
Musée de Sèvres, France.
Musée d’Art Moderne de Mulhouse, France.
Alexander Tutsek-Stiftung Glass Foundation Munich Germany.
Victoria Albert Museum, Londres, GB
Coesfeld, Ernsting Stiftung. ALL
Fonds National d’Art Contemporain, Paris
Novybor, lemberk castle, collection Cristalex. TCHEQUIE
Collection du Conseil Régional de Haute-Normandie, Rouen, FR
Musée de Conches en Ouche, FR
High Museum.Atlanta, USA
Kurokabe Glass Museum, Nagahama, JP
Musée du verre, Sars Poteries, FR
Musée International de la parfumerie, Grasse, FR
Morris Museum, Morristown, USA
Bibliothèque Patrimoniale de la ville de Nice, FR
Museum for Contemporary Art Glass, Scottdale, Arizona, USA
Musée de l’Archevêché, Evreux, FR
Leperlier Glass Art Fund Strasbourg France
AWARDS
1981 Lauréat de la Fondation de France
1994 Nommé « Maître d’Art »
2001 Prix Lilianne Bettencourt. Fondation du Patrimoine
2005 Bombay Sapphire Prize. UK
Juror Award : Award of Excellence Granbrook Academy of Art.
USA
ETIENNE LEPERLIER
Born in 1952, France
Musée des Arts Décoratifs de Paris. France
Musée de Sèvres.France
Kunstsammlungen Der Veste Coburg. Allemagne
Musée Unterlinden de Colmar. France
Musée de Meisenthal. France
Musée Ariana de Genève. Suisse
Cooper-Hewitt Museum. New-York. USA
Museum of Contemporary Glass of Coburg. Allemagne
Musée du Verre de Sars-Poteries. France
Conseil Régional de Haute-Normandie. France
Ville de Conches en Ouche. France
Kurokabe Glass Museum Collection. Nagahama. Japon
The Detroit Institute of arts. USA
Conseil Général de l’Eure. France
Museo Del Vidrio. Monterrey. Mexique
Leperlier Glass Art Fund. Vendenheim. France
Galerie Internationale du Verre, Serge Lechaczynski, Biot. France
Liuligongfang Museum. Shanghai. Chine
Corning Museum of Glass. Corning, New York. USA
Mobile Museum of Art. Mobile, Alabama. USA.
AWARDS
1998 Gold Price from “International Exhibition of Glass
Kanazawa”, Kanazawa, Japon.
MARIA LUGOSSY
Born in1950 - Hungary
Savaria Museum, Szombathely, Hungary.
Magyar Nemzeti Galéria, Budapest, Hungary.
Janus Pannonius Museum, Pécs, Hungary.
King Stephen Museum, Székesfehérvar, Hungary.
Liszt Ferenc Museum, Sopron, Hungary.
75
Istvan Kirali Museum, Székesfehérvàr, Hungary.
Bakonyi Museum, Veszprém, Hungary.
Fovarosi Képtar, Budapest, Hungary.
British Museum, London, UK.
Musée du Verre, Sars Poteries, France.
Musée des Beaux-Arts, Rouen, France.
Musée du Louvre, Paris, France.
Glassmuseum, Ebeltoft, Denmark.
Kunstmuseum,Düsseldorf, Germany.
Stadt-Fellbach, Germany.
Veste Coburg, Coburg, Germany.
Glass Museum, Frauenau, Germany.
Switzerland
Corning Museum of Glass, New York, USA.
Suntory Museum of Art, Tokyo, Japan.
Yokohama Museum of Art, Japan.
Shimonoseki City Art Museum, Yamaguchi, Japan.
Liberty Museumn Philadelphia, USA.
Museum of Toyamura, Japan.
Rijksmuseum, The Netherlands.
AWARDS : 1991 Prize awarded by the Hungarian Arts
Foundation; 8th National
Biennal of Medal Art, Sopron, Hungary
1992 Grand Prize; FIDEM International Congress and Exhibition
of Medal
Art, British Museum, London, U.K
Grand prize; Centre International d’Art Contemporain, Chateau
Beychevelle, France
1992 Gold Award, American Interfaith Institute, Philadelphia,
USA
1996 “The Suntory Prize”, Suntory Museum of Art, Tokyo, Japan
1997 Imre Nagy Memorial prize, Budapest, Hungary
1998 Prize for the Best Medal by the Finnish Art
Medal Society, The Hague, The Netherlands
1999 Millenium Memorial Competition, 2nd Prize,
Municipality of Székesfehévar, Hungary
Prize awarded by the Hungarian Arts Foundation, 12th National
Biennial of Medal Art, Sopron, Hungary
“Prize of Distinction” Lisbon,
The First International Biennial of Medal, Seixal, Portugal
MEMBERSHIPS
Hungarian National Academy of Arts and Sciences
Fine Arts Division
National Cultural Fund
Artists’Associations, both at home and abroad
SERGE MANSAU
Centre de Création Industrielle, France
Centre National d’Art et de Culture, Georges Pompidou, Paris,
France
City of Noisy Le Roi
CAREER
Designer for perfume bottles of the major fashion designers:
Capucci, Lancôme, Molyneux, Christian Dior, etc.
RAYMOND MARTINEZ
Musée des Arts Décoratifs, Bordeaux, France.
Kunstsammlungen der Veste Coburg, Coburg, Allemagne.
Musée du Verre, Sars-Poteries, France.
Fonds Régional d’Art Contemporain de Normandie, Rouen,
France.
Saxe Colection, San Francisco.
Musée de Belfort, France.
JAROSLAV MATOUS
Moravian Gallery, Brno, Czechoslovakia.
Museum of Glass and Jewelry, Jablonec Nad Nisou,
Czechoslovakia.
Switzerland
Museum of northern Bohemia, Liberec, Czechoslovakia.
National Gallery, Zbraslav, Czechoslovakia.
City Museum, Toyama, Japan.
City Museum, Pardubice, Czechoslovakia.
Museum Van Der Togt, Amstelveen, Netherlands.
Kunstsammlungen der Veste Coburg, Coburg.
Musée du Verre, Sars-Poteries, France
ISABELLE MONOD
Born in 1945 - Switzerland
Kunstammlung, Veste Coburg, Germany.
Fnac, Dépôt musée des arts décoratifs, Paris.
Musée des arts décoratifs, Paris, France.
Musée du verre de Sars Poteries, France.
Musée de Frauenau, Germany.
Modern international Glaskunstmuseum, Ebeltoft, Denmark ;
Musée d’art moderne et contemporain de Nice, France.
Fond régional Haute Normandie, Dépôt hôtel de région, Rouen,
France.
Musée national de Céramique , Sèvres.
Achat par la commission pour le fond d’Etat du canton de
Genève, Switzerland.
Collection G. Saxe, San Francisco.
WILLIAM MORRIS
Born in 1957 - USA
Hokkaido Museum of Modern Art, Sapporo, Japan.
Hunter Museum, Chattanooga, TN.
IBM Corporation, Tulsa, OK.
J.B. Speed Art Museum, Louisville, KY.
The Jewish Museum, San Francisco, CA.
Joslyn Art Museum, Omaha, NB.
Los Angeles County Museum of Art, Los Angeles, CA.
McDonald’s Corporation, Oakbrook, IL and Bellevue, WA.
Memorial Art Gallery of the University of Rochester, Rochester,
NY.
Metropolitan Museum of Art, New York, NY.
Microsoft Corporation, Redmond, WA.
Milwaukee Art Museum, Milwaukee, Wl.
Missoula Museum of the Arts, Missoula, MT.
Mobile Museum of Art, Mobile, AL.
Museum fur Kunst und Gewerbe, Hamburg, Germany.
Museum of American Glass, Millville, New Jersey.
Museum of Art, Rhode Island School of Design, Providence, Rl.
Museum of Fine Arts Houston, Houston, TX.
Niijima Contemporary Glass Art Museum, Niijima, Japan.
Norton Museum of Art, Palm Beach, FL.
Pilchuck Collection, Stanwood, WA.
Port of Seattle, WA.
Portland Art Museum, Portland, OR.
Rockefeller Center, New York, NY.
Royal College of Art, London, England.
Safeco Insurance Company, Seattle, WA.
Seattle-First National Bank Collection, Seattle, WA.
Seattle Art Museum, Seattle, WA.
Seattle Repertory Theatre, Seattle, WA.
Seattle-Tacoma International Airport, Permanent Installation,
Seattle, WA.
Security Pacific Collection, Security Pacific Bank, Seattle, WA.
Sheldon Memorial Art Gallery and Sculpture Garden, University
of Nebraska, Lincoln, NB.
Sheraton Seattle Hotel and Towers Collection, Seattle, WA.
Shimonoseki City Art Museum, Shimonoseki, Japan.
Smithsonian Renwick Gallery of the National Museum of
American Art,
Washington, DC.
State Foundation of Culture in the Arts, Honolulu, Hl.
State of Oregon Public Services Building, Portland, OR.
The Pilchuck Glass Collection at City Centre and US Bank Center,
Seattle, WA.
The Toledo Museum of Art, Toledo, OH.
Toyota USA, Corporate Retreat, Hilo, Hl.
UPS Corporate Collection, Louisville, KY
United Airlines, San Francisco, CA.
University of Michigan, Dearborn, Ml.
U.S. News and World Report, Washington, D.C.
The Valley National Bank of Arizona, Tucson, AZ.
Victoria and Albert Museum, London, England.
Virginia Museum of Fine Arts, Richmond, VA.
Yellowstone Art Museum, Billings, MT.
Westin Hotel, San Francisco, CA.
SELECTED PUBLIC COLLECTIONS
American Craft Museum, New York.
Auckland Museum, Aukland, New Zealand.
Birmingham Museum of Art, Birmingham, AL.
Carnegie Museum of Art, Pittsburgh, PA.
Chrysler Museum of Art, Norfolk, VA.
Charles A. Wustum Museum of Fine Arts, Racine, Wl.
Cincinnati Art Museum, Cincinnati, OH.
Corning Museum of Glass, Corning, NY.
Daiichi Museum, Nagoya, Japan.
Davis Wright Tremaine, Seattle, WA.
The Dayton Art Institute, Dayton, OH.
Delta Airlines, Portland, OR.
The Detroit Institute of Arts, Detroit, Ml.
Edmonds Arts Commission, Edmonds, WA.
First Union Bank, Charlotte, NC.
Florida National Collecton, Florida National Bank, Jacksonville, FL.
MATEI NEGREANU
Born in 1941- Romania
Éducation : diplômé de l’Ecole des Beaux Art de Bucuresti – 1972
(prof. Baicoianu sculpture et Lucia loan peintre)
Vit et travaille en France depuis 1981.
1995 Nommé Chevalier de l’ordre des Arts et des lettres
Collections publiques et privées :
Carnegie Muséum of Art Pittsburgh, Pennsylvania – U.S.A.
Mobile Muséum of Art, Mobile – Alabama – U.S.A.
The Corning Museum of Glass, Corning – U.S.A.
Saxe Collection, San Francisco – U.S.A.
Kunstmuseum Düsseldorf glasmuseum Hentrich – D.
Kunstsammlungen der Veste, Coburg – D.
Ernsting Stiftung, Coesfeld – Lettre – D.
Musee Bellerive, Zürich – CH.
Musee du Design et d’arts appliqués contemporains, Lausanne – CH.
Ulster Museum Belfast – G.B.
Pilkinton Glass Museum, Saint Hélène – G.B.
Autotran Museum, Rosmalen – N.L.
Hokkaido Museum of Modern Art, Sapporo – J.
Hoya Industry Collection, Tokyo – J.
Montreal Museum of Fine Arts Montreal, C.
Musée des arts décoratifs d’Athènes GR.
Musée des arts décoratifs de Bucuresti – RO.
Musée des arts décoratifs de Cluj-Napoca, RO.
Fonds National d’Art Contemporain, Paris – F.
Musée des arts décoratifs de Paris – F.
Musée du verre, Sars Poteries – F.
Musée des arts décoratifs de Bordeaux – F.
Musée d’Unterlinden Colmar – F.
Musée de la parfumerie, château de Chameroolles, Loiret – F.
Conservation des objets d’art et d’antiquités de la Manche – F.
Collection Galerie Internationale du Verre Serge Lechacznski Biot
TOM PATTI
Born in 1943 - USA
The Art institue of Chicago
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Berkshire Museum, Pittsfield, Massachusetts
Carnegie Museum of Art, Pittsburgh
Chrysler Museum of Art, Norfolk, Virginia
The Corning Museum of Glass, Corning, New York
Indianapolis Museum of Art, Indianapolis
Kestner-Museum Hannover, Germany
Kunstmuseum Düsseldorf, Germany
Metropolitan Museum of Art, New York
Mint Museum of Craft + Design, Charlott, North Carolina
Musée des Arts Décoratifs, Paris
Musée des Arts décoratifs de la Ville de Lausanne, Switzerland
Musée des Arts Décoratifs de Montréal
Museum für Modernes Glas, Kunstsammlungen der Veste
Coburg, Germany
Museum of Arts and Design, New York
Museum of Fine Arts, Boston
Museum of Fine Arts, Houston
Museum of Modern Art, New York
National Gallery of Victoria, Melbourne
National Museum of American Art, Washington, D.C
Philadelphia Museum of Art, Philadelphia
Saint Louis Art Museum, St. Louis
Toledo Museum of Art, Toledo, Ohio
Victoria and Albert Museum, London
Galerie Internationale du Verre, Biot, France
MARK PEISER
Born in 1938 - USA
Art Institute of Chicago, Chicago, Illinois
Birmingham Art Museum, Birmingham, Alabama
Chrysler Museum of Art, Norfolk, Virginia
Cooper-Hewitt National Design Museum, New York, New York
Corning Museum of Glass, Corning, New York
Detroit Institute of Arts, Detroit, Michigan
Fine Arts Museum of the South, Mobile, Alabama
La Galerie Internationale Du Verre, Biot, France
Glasmuseum, Ebeltoft, Denmark
Glaxo Corporation, Raleigh, North Carolina
Peggy Guggenheim Collection, Venice, Italy
High Museum of Art, Atlanta, Georgia
Hokkaido Museum of Modern Art, Sapporo, Japan
Hunter Museum of American Art, Chattanooga, Tennessee
Huntington Museum of Art, Huntington, West Virginia
Racine Art Museum, Racine, Wisconsin
Koganezaki Crystal Park Glass Museum, Kamo-mura,
Shizuoka,Japan
Lucerne Museum of Art, Lucerne, Switzerland
Minneapolis Institute of Art, Minneapolis, Minnesota
Mint Museum of Art, Charlotte, North Carolina
National Museum of American History, Smithsonian Institution,
Washington, D.C.
North Carolina National Bank, Winston-Salem, North Carolina
The People’s Republic of China; State Gifts, presented to Wang
Bing Nan by Ambassador John Moors Cabot
R.J. Reynolds Industries, Winston-Salem, North Carolina
Santa Barbara Museum of Art, Santa Barbara, California
J.B. Speed Art Museum, Louisville, Kentucky
Toledo Museum of Art, Toledo, Ohio
Tokyo Museum of Modern Art, Tokyo, Japan
University of Iowa Hospitals and Clinics, Iowa City, Iowa
Wheaton Village Museum of American Glass, Wheaton, New
Jersey
Jimmy Carter, Plains, Georgia
Ann Haberland, Fish Creek, Wisconsin
Gordon Hanes, Winston-Salem, North Carolina
John H. Hauberg, Seattle, Washington
Douglas Heller, New York, New York
Dr. and Mrs. Hugh McKean, Winter Park, Florida
Nelson Rockefeller, New York, New York
Arthur Rubloff, Chicago, Illinois
George Saxe, Menlo Park, California
Mrs. Reymond Suppes, Chevy Chase, Maryland
Lee Witkin, New York, New York
HONORS
Critic’s Choice Award, Habatat International - 2007
Niche Award Winner - 2007
Lifetime Achievements in Art Made from Glass Award, Art
Alliance for Contemporary Glass - 2004
Glass Art Society, Honorary Lifetime Membership Award - 2001
The International Exhibition of Glass Craft ‘95, Kanazawa, Japan,
Gold Prize, 1995
Jimmy Carter World Leadership Award - 1991
The International Exhibition of Glass Craft ‘90, Kanazawa, Japan,
Gold Prize, 1990
American Craft Council, Fellow - 1988
Japan Glass Artcrafts Association, Asahi Shinbun Prize - 1987
Earl W. Bridges Art Park, Poet-in-Residence, Lewiston, New York 1978
National Endowment for the Arts Grant - 1975
Louis Comfort Tiffany Foundation Grant - 1971
CLIFFORD RAINEY
Born in 1948 - UK
Ulster Museum, Belfast, Northern Ireland.
Victoria and Albert Museum, London, United Kingdom.
Arts Council of Northern Ireland, Belfast, Northern Ireland.
Municipal Gallery, Dublin, Ireland.
Queens University, Belfast, Northern Ireland.
An Chomhairle, Arts Council, Dublin, Ireland.
Museum of Modern Art, Dublin, Ireland.
Switzerland
Detroit Institute of Arts, Detroit, Michigan.
Fred Jones Jr. Museum of Art, Oklahoma.
Institut du Verre, Haute Normandie, France.
Toledo Museum of Art, Toledo, Ohio.
PUBLIC COMMISSIONS
1984 Jeddah, Saudi Arabia, “ The Present is the Doorway Trough
Which the Future Becomes the Past “. Granite, steel, glass, landscaping.
1984 Queen’s University, Belfast, Northern Ireland, “ Around This
Date I Have Drawn a Circle “. Granite, cast iron.
1984 Jeddah, Saudi Arabia, “ Sierra Centre Ruin “. Granite, water,
landscaping.
1984 Lime Street Station, Liverpool, United Kingdom. Engraved
glass wall.
1987 Technician Instrument Corporation, Dublin, Ireland, “ Name
Stone “. Wood, glass, oil paint.
1988 Rex House. St James, London, United Kingdom. Etched glass
facade.
1989 Trade Indemnity House, London, United Kingdom. Five
etched windows.
1998 Commissioned by the San Francisco Art Commission,
“Water Table“ 911 Communications Center.
DAVID REEKIE
Born in1947 - UK
Portsmouth Museum and Art Gallery.
Broadfield House Glass Museum.
Usher Art Gallery, Lincoln.
Pilkinton Glass Museum, St. Helens.
Norwich Castle Museum, Contemporary Glass Collection.
Glasmuseum Ebletoft, Denmark.
Crafts Council Collection, London.
Victoria and Albert Museum, Contemporary Glass Collection,
London.
Manchester City Art Galleries.
Corning Museum, NY, NY.
Awarded a Fellowship in Glass by Lincolnshire and Humberside Arts.
Awarded a Winston Churchill Fellowship
to study Alternative Architectural Glass in USA.
One of the founder members of British Artists in Glass.
Birmingham City Museum and Art Gallery.
The Carnegie Museum of Art, Pittsburgh, USA.
Liberty Museum, Philadelphia, USA.
Museum Poterie Sars, France
COLIN REID
Born in 1953 - UK
Victoria & Albert Museum, London, UK.
The Corning Museum of Glass, Corning New York.
Los Angeles County Museum, Los Angeles,U.S.A.
Kunstmuseum der Stadt Düsseldorf, Germany.
Shimonoseki City Art Museum, Japan.
Switzerland
Hergiswil Glass Museum, Luzern, Switzerland.
Ebeltoft Glass Museum, Denmark.
Ulster Museum, Belfast.
Tokyo National Museum of Modern Art, Japan.
Norfolk County Museum, UK.
Hokkaido Museum of Art, Japan.
Craft Council Collection, London, UK.
Kunstsammlungen der Veste Coburg, Coburg, Germany.
Broadfield House Glass Museum, Dudley, UK.
Otaru City Collection, Otaru, Japan.
Corning Museum of Glass, Corning, New York. (Second
Acquisition).
QE II Art Council of New Zealand, Wellington, New Zealand.
Carrington Polytechnic Collection, Auckland, New Zealand.
Victoria & Albert Museum, London, England. (Second
Acquisition).
Bellerive Museum, Zurich, Switzerland.
Auckland Museum & Institute, Auckland, New Zealand.
Birmingham Museum & Art Gallery, Birmingham, UK.
National Museum of Scotland, Edinburgh, Scotland.
Indianapolis Museum of Art, USA.
Museum of Decorative Arts, Prague, Czech Republic.
Charles A. Wustum Museum of Fine Art Racine, Wisconsin, USA.
J.B. Speed Art Museum, Louisville, Kentucky, USA.
Koganezaki Crystal Palace, Kamo-Mura, Japan.
Museo Contemporaneo Del Vidrio Ciudad de Alcorcon,
Madrid,Spain.
Shipley Art Gallery, Gateshead, Tyne & Wear, UK.
Fitzwilliam Museum, Cambridge, UK.
Kunstgewerbemuseum, Schloss Pillnitz, Dresden, Germany
Ernsting Museum, Coespeld, Germany.
Victoria and Albert Museum, London (Third Acquisition)
Stiftung Preussischer Kulturbesitz, Kunstgewerbemuseum, Berlin
Musée des Arts Décoratifs, Montreal, Quebec
National Liberty Museum, Philadelphia, USA.
Walker Art Gallery, National Museums and Galleries on
Merseyside, UK.
AWARDS
1981 Corning New Glass Review II
1982 Corning New Glass Review III
1981 British Crafts Council - New Craftsmans Grant
1981 British Design Council Index
1984 SW Arts Equipment Grant
1984 British Council Travel Award
1987 Craft Council Index
1988 Corning New Glass Review 9
1992 Corning New Glass Review 13
1995 International Exhibition of Glass Kanazawa, Kanazawa,
Japan. Prizewinner - Honourable Mention.
1998 International Exhibition of Glass Kanazawa, Kanazawa,
Japan. Prizewinner - Honourable Mention.
2002 Crafts Council Research Trip to Japan
2002 SW Arts Annual Award
2002 Bombay Sapphire Prize shortlist
2003 Bombay Sapphire Prize shortlist
MEMBERSHIPS
Associate Royal Society of British Sculptors.
Contemporary Glass Society Honorary Life Member.
Glass Art Society.. Contemporary Applied Arts.
SALLY ROGERS
Born in 1960 - USA
EDUCATION
1989 M.FA., Graduate Teaching Assistantship in Glass, Kent State
77
University, Kent, Ohio
1984 B.FA., Center for Creative Studies - College ot Art and
Design, Detroit, Michigan
1981 Associate ot Liberal Arts, Northwestern Michigan College,
Traverse City, Michigan
AWARDS, RESIDENCIES, MUSEUM EXHIBITIONS
2001 Regional Artist Project Grant, Asheville Arts Council,
Asheville, North Carolina
1999 Solo Exhibition, Appleton Museum of Art, Ocala, Florida
1999 "Delle Animation," The Belfort Museum ot Art, Delle, France
1997 "Glass Today," The Cleveland Museum ot Art, Cleveland, Ohio
1997 "Calido," The Tucson Museum ot Art, Tucson, Arizona
1996 Visual Artists Fellowship Grant, North Carolina Arts Council
1996 Solo Exhibition, Mint Museum ot Art, Charlotte, North
Carolina
1995 Honorary Diploma, Jutta Cuny-Franz Memorial Award,
Dusseldort, Germany
1995 "Southeast Glass," Asheville Art Museum, Asheville, North
Carolina
1994 "Objects ot Desire," The Birmingham Museum ot Art,
Birmingham, Alabama
1992 "Exposition De Verre Contemporain," Centre Saint-Sever,
Rouen, France
1989 Artist in Residence, Penland School ot Cratts, Penland,
North Carolina
1987 David B. Smith Fellowship, Kent State University, Kent, Ohio
PUBLIC AND CORPORATE COLLECTIONS
The Minneapolis Institute of Art, Minneapolis, Minnesota
The Appleton Museum of Art, Ocala, Florida
The Mint Museum ot Cratt + Design, Charlotte, North Carolina
Mobile Museum ot Art, Mobile, Alabama
Dennos Museum Center, Traverse City, Michigan
Warren Wilson College, Asheville, North Carolina
Knoxville Convention Center/City of Knoxville, Tennessee
Greensboro Central Library, Greensboro, North Carolina
City of Lenoir, North Carolina
Federal Reserve Bank, Charlotte, North Carolina
Barnes Jewish-Christian Hospital, St. Louis, Missouri
Esterline Technologies, Bellevue, Washington
Bascom-Louise Visual Arts Center, Highlands, North Carolina
Lancaster Colonies, Columbus, Ohio
University 0f Michigan-Dearborn, Dearborn, Michigan
Galerie Internationale du Verre, Serge Lechaczynski, Biot, France
JAROMIR RYBAK
Moravian Gallery, Brno.
Musée du Verre Art et Techniques, Charleroi.
Kunstsammlungen der Veste Coburg, Coburg, Germany.
The Corning Museum of Glass, Corning, New York.
Switzerland
Musée des Arts Décoratifs, Paris.
Museum of Decorative Arts, Prague.
Collection of Czech Ministry of the Culture, Prague.
YAFFA & JEFF TODD
Born in 1951- Israel - Born in 1954 - USA
Chrysler Museum, Norfolk, Virginia.
Bergstrom-Mahler Museum, Neenah, Wisconsin.
Glasmuseum, Ebeltoft, Denmark.
Haaretz Museum, Tel Aviv, Israël.
Kestner Museum, Hannover, Germany.
Glass Museum, Frauenau, Bavaria, Germany.
Mint Museum, Charlotte, North Carolina.
Wheaton Museum of Historical Glass, Millville, NJ.
North Carolina Museum of History, Raleigh, NC.
RJ. Reynolds Industries, Winston-Salem, NC.
Rochester Institute of Technology, Rochester, NY.
C.J.S. Inc., Raleigh, NC.
Ford Collection, Rochester, NY.
Hickory Museum of Art, Hickory, North Carolina.
Asheville Museum of Art, Asheville, NC.
MBNA America Corporation, Newark, Delaware.
Mc Donald’s Corporation, Oak Brook, Illinois.
ALES VASICEK
Museum of Applied Arts, Prague, Czechoslovakia.
Museum of Glass, Sars-Poteries, France.
North Bohemian Museum, Liberec, Czechoslovakia.
Moravian Gallery of the City of Brno, Czechoslavakia.
City Gallery, Olomouc, Czechoslavakia.
Kunstsamlungen der Veste Coburg, Germany.
Kunstmuseum Düsseldorf, Germany.
Museum für Kunst und Gewerbe, Hamburg Germany.
Switzerland
Musée Arianne, Geneva Switzerland.
Townhall, Barcelona, Spain.
City Museum, Kanazawa, Japan.
Yokohama Museum of Art, Yokohama, Japan.
Van der Togt Museum, Amstelveen, Netherlands.
Grand Prize, International Glass Exhibition Kanazawa 90, Japan..
Glass Art Fund, Strasbourg, France
Château Pichon Longueville, Bordeaux, France
JANUSZ WALENTYNOWICZ
Born in 1956 - Denmark - Poland
Her Majesty The Queen’s collection, Copenhagen, Denmark.
Ebeltoft Glasmuseum Ebeltoft, Denmark.
Kunstforeningen Af 14 August, Copenhagen, Denmark.
Handelsbankens Kunstforening, Copenhagen, Denmark.
The Arkansas Arts Center Foundation Collection,
Little Rock, Arkansas.
The American Craft Museum, New York, N.C.
The collection of the Regional Council of Upper Normandy,
France.
JAMES WATKINS
Born in 1955 - USA
Château Pichon Longueville, Bordeaux, France.
Mint Museum, Charlotte, NC.
Musée de Sars-Poteries, France.
Chas. A. Wustum Museum of Fine Art, Racine, MI.
J.B. Speed Art Museum, Louisville, Kentucky.
Pilchuck Glass School, Standwood, MA.
Ernsting Stiftung Museum, Germany.
Huntington Museum of Art, Huntington, WV.
Musée des Arts Décoratifs, Lausanne, Switzerland.
The Glass Museum, Frauenau, Germany.
The Leigh Yawkey Woodson Art Museum, Wausau, Wisconsin.
Galerie Internationale Du Verre, Serge Lechaczynski, Biot, France
LEAH WINGFIELD
Born in 1957 - USA
& STEPHEN CLEMENTS
Born in 1948 - USA
De Young Museum, San Francisco, CA.
Brockton Museum, Boston, MA.
Smithsonian, Washington, JC.
Richmond Art Museum, CA.
Standard Oil Corporation, CA.
Kishijimi Collection, Japan.
Presidents Collection, People’s Republic of China.
Private collections in Europe, Canada, Japan and the U.S.
ANN WOLFF
Born in 1937 - Germany
Alexander Tutsek-Stiftung, München Deutschland
Badisches Landesmuseum, Karlsruhe Deutschland
The Chazen Collection, NY USA
The Corning Museum of Glass, Corning NY USA
Det Danske Kunstindustrimuseum, Copenhagen Dänemark
Dresdner Kunstgewerbemuseum, Dresden Deutschland
Ebeltoft Glasmuseum, Ebeltoft Dänemark
Ernsting Stiftung, Coesfeld-Lette Deutschland
Frauenau Museum, Frauenau Deutschland
Groninger Museum, Groningen Holland
Hokkaido Museum of Modern Art, Hokkaido Japan
Höganäs Museum, Höganäs Schweden
Kestner Museum, Hannover Deutschland
Leigh Yawkey Woodson Art Museum, Wausau WI USA
Lobmayr Museum, Wien Östereich
Kulturhistorisches Museum, Osnabrück Deutschland
Kunstmuseum der Stadt Düsseldorf Deutschland
Kunstsammlungen der Veste Coburg, Coburg Deutschland
Malmö Museum, Malmö Schweden
Metropolitan Museum, New York NY USA
Mint Museum of Craft + Design, Charlotte, N.C. USA
Musée des Arts Décoratifs, Paris Frankreich
Musée Atelier du Verre, Sars Poteries Frankreich
Musée de Design et d´Arts Appliques/ Contemporain,
Lausanne Schweiz
Museum Bellerive, Zürich Schweiz
Museum für Kunst und Gewerbe, Hamburg Deutschland
Museum of Fine Arts, Boston USA
Museum for Arts and Design, New York, N.Y. USA
Museum Würth, Künzelsau, Germany
Muskegon Museum of Art, Muskegon, MI. USA
National Museum of Modern Art, Tokyo Japan
Nationalmuseum Stockholm Schweden
Norrköpings Museum, Norrköping Schweden
Pilkington Museum of Glass, Pilkington England
Röhsska Konstslöjdmuseum, Göteborg Schweden
Schloß Gottorf, Schleswig Deutschland
Stedelijk Museum, Amsterdam Holland
Toledo Art Museum, Toledo, OH USA
Varbergs Museum, Varberg Schweden
Victoria and Albert Museum, London England
Växjö Länsmuseum, Växjö Schweden
Würtembergisches Landesmuseum, Stuttgart Deutschland
AWARDS
1968 Lunningprize (for Scandinavia)
1974 WCCs Award, Toronto
1977 Coburger Glaspreis, Germany ((first winner)
1980 Zentralschweizer Glaspreis (1. and 3. Prize)
Ehrenpreis, International Glasart, Kassel, Germany
Lessebo Kommuns Kulturpris
1984 WCCs Glasprize, Bratislava CSSR
1988 Bayrischer Staatspreis, Goldmedaille, München,
Germany
1997 Rakow Comission for the Corning Museum of Glass
Pilchuk School collection, Stanford, Washington, USA
Württembergisches Landesmuseum, Stuttgart, Germany
The Yokohama City Museum, Yokohama, Japan
Musée des Beaux-Arts, Rouen, France
The East Bohemian Museum, Pardubice, Czech Republic
The Toledo Museum of art, Toledo, Ohio, USA
The Prague Metropolitan Gallery, Praha, Czech Republic
The JB Speed Art Museum, Louisville, Kentuky, USA
Corning Headquarters, Corning, Permanent instalation, USA
The Kanazawa City Museum, Kanazawa, Japan
The Koganezaki Glass Museum, Kamomura, Japan
The Niijima Museum, Niijima, Japan
Toyama City Institute of Glass Art, Japan
The Czech Museum of fine Arts, Prague, Czech Republic
The Fine Arts Museums of San Francisco, USA
The Auckland Museum, Auckland, New Zealand
The American Craft Museum, New York, USA
Galerie Internationale Du Verre, Serge Lechaczynski, Biot,
France
DANA ZAMECNIKOVA
Czech Republic
Public Collections
Glasmuseum Bärnbach, Bärnbach, Germany
Moravian Gallery of the City of Brno, Czechoslavakia.
Corning Museum of Glass, Corning, NY.
Ebeltoft Glasmuseum, Ebeltoft, Denmark.
The Glass Museum, Frauenau, Germany.
Mönchenhaus, Museum Goslar, Germany
Badisches Landesmuseum Karlsruhe, Karlsruhe, Germany
Broadfield House Glass museum, Kingswinford, London,
England
Musée de Design et d’Arts appliqués contemporains,
Lausanne.
North Bohemian Museum, Liberec, Czechoslovakia.
Victoria and Albert Museum, London, England.
Musée des Arts Décoratifs, Palais du Louvre, Paris, France.
The art Gallery of Western Australia, Perth, Australia
Museum of Decorative Arts, Prague.
Hokkaido Museum of Art, Sapporo, Japan.
JIRINA ZERTOVA
Moravska, Brno, CZ.
Museum skla a bizuterie, Jablonec n. Nisou, CZ.
Severoceské Museum, Liberec, CZ.
Crystalex, Novy Bor, CZ.
Vychodoceské Museum, Pardubice, CZ.
Umeleckoprumyslové Museum , Praha, CZ.
Kunstsammlungen der Veste, Coburg, Germany.
The Corning Museum of Glass, Corning, NY, USA.
Kunstmuseum, Düsseldorf, Germany.
Glasmuseum, Ebeltoft, Germany.
Museum für Kunst und Gewerbe, Hambourg, Germany.
Museum, Jelenia Gora, PL.
Switzerland
The Lannan Foundation of Contempory Arts, palm Beach, USA.
Museum Naradowe, Wrodowe, PL.
Galerie Internationale du Verre, Serge Lechaszynski, Biot, France.
78
VLADIMIIR ZBYNOVSKY
Born in 1964 - Slovaquia
Victoria & Albert Museum, Londres, Grande-Bretagne
Sculptures en Manche, Normandie, France.
Institut Tchèque de Paris, France.
Institut Français (Prague, Rép. Tchèque)
International Trade Fair, Chambre des Métiers d’Art, Munich,
Allemagne.
The Museum of Decorative Arts in Prague, University of
Sunderland, IKA-Mechelen and EU programme.
Maison du verre, Puy-Guillaume, France
Symposium de sculptures, Abbatiale de Cerisy-la-Forêt, France.
Institut français de Bratislava, République Slovaque.
Centre Culturel La Fontaine, Brie-Comte-Robert, France.
"The Judith Altman Memorial Judaica Competition"- Elkins Park,
U.S.A
Yamaha, Japan.
Musée de Meisenthal , France.
Banque de San Paolo, Luxembourg.
Slovenska Narodna Banka
“Spertus Judaica Prize”, Spertus Museum, Chicago.
AWARDS
Amber prize (1991)
Prix de la triennale de Nüremberg (1996)
Yamaha, Japon (1995)
Banque de San Paolo, Luxembourg (1997)
Banque Nationale Slovaque, Bratislava (1998)
Musée de Meisenthal, France (1996)
Conseil Régional, Belfort (2000)
Musée du XXIème siècle, Kanazawa, Japon (2001)
Banque Nationale, Amsterdam, (2001)
Hôtel des Régions Languedoc-Roussillon (2003)
Steven Weinberg's work was not finished
in time for inclusion in the catalogue
but it will be on show in the Verriales exhibition.
The artists join the Lechaczynski family
in wishing Gizela Sabokova a speedy recovery.
79
Serge Lechaczynski wishes to thank :
the artists for their talent and their precious friendship,
Jean Eskenazi,
Jean-Marc Lombardo and his team,
the photographers,
Solange Palmeira-Hawkes and John E. Hawkes, translators,
and all the art-lovers who make it possible for the artists to express their passions
through their works.
www.agence-talisman.com - june 2008
80
a t L a Ve r r e r i e d e B i o t ®
C h e m i n d e s C o m b e s - 0 6 410 B i o t - F R A N C E
Tél 04 93 65 03 00 - Fax. 04 93 65 00 56
h t t p : / / w w w. g a l e r i e d u v e r r e . c o m
email : [email protected]

Light, a source of life

Transcription

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