John H. Hauberg Fellowship Program

MAY 21 - JUNE 1, 2019

Application deadline: Thursday, November 15, 2018. Applications for 2020 will be made available in the spring/summer.

Named for Pilchuck co-founder John H. Hauberg (1916–2002)—philanthropist, art collector, and important patron of artists—the fellowship was established to encourage collaboration among a group of outstanding artists.

Groups of up to six members are invited to submit an application to utilize the Pilchuck studios and campus environment for research and development of artwork based on a common theme or a collaborative project.

Group members provide technical support for each other in the exploration of new working methods and engage in critical dialogue. Visual artists in all media as well as writers, poets, art critics, and curators are encouraged to apply; however, if proposing to use glassmaking equipment, some members of the group must have previous experience with Pilchuck’s facilities, as limited technical assistance is available.

Open studio space and access to Pilchuck’s Mold & Kiln Shop, Cold Shop, Print Shop, and Wood & Metals Shop is provided. During this time, Pilchuck’s hot glass facilities are being used for production, and therefore no hot glassworking is available. Hauberg Fellows are provided living accommodations, meals, and limited supplies. Reimbursement for travel costs and honorarium are not provided.


For more information, please contact the registrar, at or 360.445.3111 ext.29.



Hannah Smith, Jimmy Anderegg, Charles Cohan, Alex Gibson, Kelvin Mason and Shandra McLane will converge at Pilchuck this spring to combine their unique printmaking expertise for the formation of an illustrated book documenting the processes and history of vitreography. The Fellows’ collaborative efforts will result in a book for the art community to enjoy, implement, share and develop. 


Hannah Marie Smith's practice combines performance, photography, tracing, cutting, carving and casting to explore the intersection of complexity and understanding. She graduated from Plymouth State University, NH with a BFA in Printmaking. Introduced to glass through Vitreography, cold working and kiln forming during an internship at Squam River Studios, NH. Smith has been an artist in residence at The Holderness School, Grin City Collective, and Pyramid Atlantic Art Center.


Drawing inspiration from the organic nature of spontaneity, Jimmy Anderegg’s work merges the splendor of Venetian glass techniques with a design sensibility for the wild and exotic. His sculpture integrates a laborious layering of colored elements that undergo an equally laborious carving process; finished compositions that reveal lively interior and exterior relationships. Anderegg was first introduced to glass in 2001.



Charles Cohan is Professor of Art and Chair of Printmaking in the Department of Art and Art History at University of Hawaii at Manoa. He received an MFA from Cranbrook Academy of Art and a BFA from the California College of Arts and Crafts. Cohan works under the moniker ‘Arm and Roller Press’ when printing for other artists and in community events, and is co-founder of the Honolulu based Lithopixel Refactory Collective print performance group.



Alex Gibson is a printmaker and glass artist living in the Pacific Northwest. He holds degrees in art from Washington State and San José State Universities and is interested in contrived art making processes for their ample opportunities to interject complexity and nuance into the work. Gibson sees this layering and depth as a way to reflect the many shades present in all facets of life and thought.


Kelvin Mason is a media-independent artist, designer and educator currently at Augustana College as the coordinator of the Graphic Design Program and teaches printmaking, design and photography courses. Mason’s current work involves the digital manipulation of photographs, mapping them onto virtual 3-D surfaces, and translating them back into traditional oil paintings and prints.


Shandra McLane started working in printmaking and glass in 1997 at The University of Southern California and Pilchuck Glass School. She has spent her time focusing on experimental vitreography techniques along with the integration of kiln formed and blown glass. Notable recognitions for her work include a 2015 Swedish Biennale Grant and the 2017 Frank Tenot Fellowship.