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Six Women Artists Named as
Pilchuck Glass School’s 2005
Emerging Artists in Residence |
Seattle, WA – July 31, 2005 – Pilchuck Glass School announces its selection of six talented young artists to participate in the school’s sixteenth annual Emerging-Artists-in-Residence Program. Residents will live and create new bodies of work at Pilchuck’s Stanwood campus from September 19 through November 11, 2005. Those selected are Pat Bako, Jenny Heishman, Michele Kong, Cara Grae Meling, Rachel Moore and Kazue Taguchi.
This year’s emerging artists in residence (EAiRs) were chosen by jury from among a highly competitive pool of 34 applicants representing four nations. While evaluating criteria such as originality and visual intelligence, the jury’s final determination reflects varied aesthetics and techniques. Pilchuck Artistic Co-Director Ruth King explains, “This past year’s EAiRs and current jury selections for 2005 all reveal an important element to the EAiR program: It is a residency that fosters diversity. Though exploration in glass is possible, current applicants seek time, space and resources in the retreat-like environment of Pilchuck to develop artistic concerns more significantly than any prescribed material-specific focus.”
Seattle resident and 2002 Rochester Institute of Technology B.F.A. recipient Pat Bako has extensive experience with Pilchuck’s studios as a student, artist’s assistant, and summer staff member for three consecutive years. Says Bako, “The residency is exactly what I need to allow me the time and resources to begin fabricating a new body of work.” Her skills as a glass artist combined with her academic background in sociology prompt her to explore questions surrounding wealth distribution and mass consumer culture in Western society by creating an outdoor quilt installation made of steel, paper, cloth and cast glass. |
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| • View images of work by Pat Bako ... |
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| Jenny Heishman, currently residing in Seattle, received a B.S. degree in geology from the University of Florida and an M.F.A. in sculpture from The Ohio State University. Originally trained as a ceramist, Heishman’s materials vocabulary now includes papier-mâché, balloons, plastics, vinyl and Plexiglas. She plans to employ kiln casting and flameworking to create multiple glass forms for incorporation into a larger work. “My fascination with materials is a quest for structurally thin, volume-holding, pliable qualities,” Heishman explains. |
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| • View images of work by Jenny Heishman ... |
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| Baltimore, Maryland, resident Michele Kong plans to initiate a series of drawings and sculptural forms (using flameworked, coldworked, fused and slumped glass) to examine individual worlds. “With reverence for the infinitely small,” Kong hopes to “uncover a world with dimensions that speaks to the unfathomably great.” An adjunct faculty member at both University of Maryland-College Park and the Corcoran College of Art and Design during 2004, Kong earned a B.A. in Spanish language and literature, a B.F.A. in studio arts, and an M.F.A. in sculpture from the Rhode Island School of Design. |
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| • View images of work by Michele Kong ... |
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| Recent Penn State B.F.A. recipient Cara Grae Meling often uses ephemeral materials such as plaster, wax and soap in her sculptures but recently began experimenting with glass. She plans to use her residency to explore moldmaking and kiln casting in multiples to investigate the beauty of forms. |
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| • View images of work by Cara Grae Meling ... |
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| With a B.F.A. from Alfred University and professional experience as a glassblowing assistant at Benjamin Moore Inc. in Seattle, Rachel Moore says of her work, “What poets put into words, I strive to put into my sculpture.” Planning to fashion large-scale mixed-media sculptures and installations, Moore has a library of glass parts awaiting completion during this eight-week residency opportunity. |
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| • View images of work by Rachel Moore ... |
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| From Japan by way of Barcelona, Spain, Kazue Taguchi believes Pilchuck’s forested setting will prove inspirational. “After 12 years of life in big cities such as Tokyo and Barcelona, I felt out of touch with nature.” Earning a B.F.A. in oil painting and lithography from Japan’s Joshibi University of Art and Design, Taguchi has spent the last eight years blending glass into her creative repertoire. She is currently investigating a new way of using mirrors in her work and plans to explore the physical and metaphysical (an object and its reflection) in original mirror landscape structures using painted, cast, slumped and silk-screened glass, Japanese fiber paper and mirrors. |
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| • View images of work by Kazue Taguchi ... |
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For only the fifth time in the sixteen-year history of Pilchuck Glass School’s Emerging-Artists-in-Residence Program, all women artists have been selected. Artistic Co-Director King notes this is a coincidence within the long history of the EAiR program and most likely reflects the fact that “art schools are filled predominantly with female students.”
Founded in 1990, Pilchuck’s fall Emerging Artist-in-Residence Program offers a group of six artists in the early stages of their careers financial support, a period of time, and a creative environment in which to develop bodies of work focusing on glass. Bridging the academic world and the professional world, the residency differs from the summer educational program in that it does not include access to the hot shop. This is an independent artist’s residency therefore some glassmaking experience is required as no instruction is available. EAiRs have full access to Pilchuck’s fusing, slumping and pâté de verre kilns, flameworking torches, and coldworking equipment along with studio space, living accommodations, a $1,000 stipend, and a significant period of time in which to take risks, pursue special projects, or finish a body of work.
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