SESSION 3: Natural History

July 6 - 23, 2019

Applications for scholarship, priority placement, Teaching Assistant, and Artist Assistant use the same online form and are due by 11:59 PM [Pacific], February 1, 2019. Student applications accepted until courses are filled. Learn more about applying here.

Artist in Residence: Doug Jeck

Craftspersons in Residence: Jen Elek, Chris Stenzel

 

ADVANCED SCULPTING IN GLASS

Hot-Glass Sculpting, Assemblage, Color, Observation

Focus on developing individual sculptural ideas while exploring a variety of blowing and sculpting techniques. Methods of surface treatment, torchwork, and assembly of elements in the garage will be thoroughly demonstrated. Emphasis will be on applying color and making it integral to the overall aesthetic. The goal is to improve skills and expand students’ working knowledge of hot glass so that they gain the courage to take aesthetic risks. The class will learn to communicate ideas by working through and with a team. Be prepared to explore and have fun!

A / INTERMEDIATE

 

JASEN JOHNSEN

KAREN WILLENBRINK-JOHNSEN

Jasen Johnsen served as the head studio technician at Pilchuck Glass School for nearly ten years, and also worked as a teaching assistant for Pino Signoretto and Hank Murta Adams in addition to creating and fabricating a line of fine-crafted glassworking tools. Karen Willenbrink-Johnsen creates work derived from her love of adventure, nature, and glass. She earned her BFA in sculpture from Ohio University, and was a core member of the William Morris team. She co-teaches throughout the world with her husband and collaborator, Jasen Johnsen.

THE GLASS ELECTRIC

Glassblowing, Electroforming, Interactive Electronics

Learn to combine hot-sculpted and plated glass with interactive electronics through a class that explores electroformed copper, inside sculpting, sensors, and microcontrollers! Students will learn a gestural approach to bubble sculpting, torchwork, and how to apply rare-earth colorants in Pilchuck’s Hot Shop. Students will then sandcarve and plate copper circuits into their sculptures. In parallel, students will learn how to activate those circuits by incorporating switches, proximity sensing, video manipulation, and 3D printing. Laptops required.

A / ALL LEVELS

 

VICTORIA BRADBURY

MARK HURSTY

Victoria Bradbury is a new-media artist weaving programming code, physical computing, body, and object. Her work was included in the Maker Movement Exhibition at the Eindhoven Maker Faire and at the {Re}HAPPENING at Black Mountain College, North Carolina. Mark Hursty applies digital manufacture and process abstraction to molten glass and installation works. He is a Fulbright Fellow who received his PhD from National Glass Centre at University of Sunderland. They both teach in the New Media Department at University of North Carolina Asheville.

EXPERIENTIAL ARCHAEOLOGY

Equipment, History, Design, Fabrication, Core Forming

Combine science, art, technology, and technique as you engage first-hand with the historical origins of glassblowing! Using the most recent archaeological data on glass art and making in Antiquity, we will build and operate a series of wood and coal-fired clay furnaces to create objects inspired by productions dating from 3000 BCE to 200 CE. Returning back to the basics of the trade, from Mesopotamian core-formed vessels to early Roman glassblowing, the group will venture collectively into an experimental immersion in glassmaking and aesthetics. 

A / ALL LEVELS

 

BRUNO V. ANDRUS

Bruno Andrus has been a Montreal-based professional glassblower and teacher for more than twenty years. His art work, which has been exhibited internationally, mostly consists of series of objects which both celebrate and question the making, function, and decoration of glass vessels. He has combined his passion for glassmaking techniques with his academic interests by completing a PhD in art history on the topic of glassblowing. Andrus has led numerous courses, conferences, and is an active curator and writer.

OUT OF THE BOX

Flameworking, Functional & Non-Functional, Sculpting

Flameworking is a wonderful technique to create components that can be combined into various configurations forming both functional and non-functional sculpture. Starting with a drawing, one can chart a course and build both small and large pieces. Together we will strategize different ways of working with the glass to create your project. This course will establish basic skills of how to make well-built solid work. Through daily class demonstrations, individual instruction, and practice, the student will gain the skill to shape both thin and thick glass rods and blow tubing.

A / ALL LEVELS

 

JANIS MILTENBERGER

Janis Miltenberger is most recognized for her use of glass as an evocative medium. Her work ranges from life-sized to small and intricate. By creating familiar objects, such as a cage or chair to frame her concepts, she draws the viewer into her world of ideas and imagery. Miltenberger first studied clay in college and then was introduced to glass blowing as an apprentice to Richard Marquis. Years later, it was the technique of lampworking that married her narrative style within a sculptural form.

INVESTING IN THE MULTIPLE

Moldmaking, Kiln Forming, Kilncasting, Printmaking, Digital Applications

Exploring the intersection between positive and negative impressions, this course will combine historic and contemporary moldmaking and printmaking techniques. Translating surface and form into cast-glass printing plates, students will learn the fundamentals of rubber moldmaking, slumping, fusing, and investment casting alongside vitreography and hand printing. Students will identify the benefits of urethane versus silicone rubbers, and build skills using plaster, wax, and plastic components both open-face and in the round.

A / ALL LEVELS

 

RUBY DORCHESTER

HANNAH MARIE SMITH

Ruby Dorchester is a Denver glass artist and sculptor working with moldmaking and cast glass. Her work draws on her inherent curiosity of the natural world and the patterning that occurs within nature and the human form. Hannah Smith is a Boston printmaker interested in the intersection of imagery and materiality. Previously awarded residencies at Zea Mays Printmaking, Massachusetts, and Pilchuck Glass School, she is coordinating a collection of essays on the topic of vitreography.