visualization JUNE 20 - JULY 1
Analog Rendering and 3-D Making
From visualization through realization, this class will emphasize the relationships between hand, eye, and mind. Relying heavily on analog tools—pencils and paper—the class will develop forms through thought, sight, and touch. Students will be encouraged to utilize a variety of tools and materials as they create models and templates for use while blowing. Demonstrations will focus on realizing forms by referencing drawings and templates. Focused practice and dogged persistence will help students refine their visions.
A / INTERMEDIATE/ADVANCED
Michael Schunke’s work is dedicated to the pursuit of form and the practice of making. With a strong sense of design focused on the relationship between line and volume, he creates expressive silhouettes and containers of personal meaning. Formerly a professor at the Toyama City Institute of Glass Art, Japan, Schunke continues to teach glassmaking around the world. He operates Vetro Vero, a glassblowing and design studio, with partner
Glassblowing, Design, Color Application, Cane, Engraving
There is a point where lines intersect, the junction where hot and cold meet. Working in both the Hot and Cold Shops, students will take a sculptural approach to integrating form, pattern, and surface. This class will develop each participant’s individual voice by encouraging experimentation, spontaneity, and thoughtfulness. Students will combine a blend of techniques with their imaginations as they work together to interweave the creative possibilities of a hybrid space.
B / ADVANCED
Nancy Callan’s artistic voice as a glass sculptor reflects her high-level training and talents. She attended Massachusetts College of Art and Design and lives in Seattle, where she is part of the vibrant Pacific Northwest glass community. Mel Douglas’ delicate, subtle work comes from the slow and considered process of engraved mark making. She has worked as an independent studio artist since graduating from the Australian National University, Canberra.
Glassblowing, Hot Sculpting, Flameworking, Mixed Media
Anything is possible when we use a variety of sculpting techniques and mixed media to bring visions to life. Exercises in sketching will help students “see” and “know” forms while working with the molten material and building a vocabulary of off-hand and flameworking sculpting techniques. The class will cover solid and blown (interior) sculpting, garage assembly, flameworking, teamwork, and mixed-media assemblage. Mixed media, such as wood, metal, and borosilicate, may play a vital role in the finished narrative.
B / ALL LEVELS
Julia and Robin Rogers share a passion for sculpture and molten glass. After assisting each other for ten years, they decided to collaborate, melding ideas, techniques, and an array of materials in order to manifest their combined surreal vision in anthropomorphic explorations. Both hold advanced degrees in art and love teaching. Robin is the assistant manager of the Chrysler Museum Glass Studio, and Julia teaches at Virginia Wesleyan College and Tidewater Community College in coastal Virginia.
Flameworking, Coldworking, Sandblasting
Explore an endless world of form and pattern that is more than just the sum of its parts. The class will begin by making striped tubing, flat cane, and murrine with color rods, tubing, and powders and go on to create complex, original patterns and imagery with sandblasting and coldworking. Visiting artists will inspire, leaving students wondering if there is anything that is not possible. Let the stacked chips fall where they may.
B / ALL LEVELS
Chris Carlson has been making pipes since 2001 and stacking chips steadily since 2008. He began working with Chong Glass and now makes one-of-a-kind pieces at his studio outside Eugene, Oregon. Carlson is color-blind, left-handed, and asthmatic, and his unorthodox use of jet black and star white informs the characteristic complexity of his work. Constant photographic documentation of glass events and travel has led to international exhibitions of both photos and glass.
High-Test: Paint and Lead
Glass Painting, Imagery, Leaded Glass
Combining the instructors’ shared love of glass painting and stained glass, this class will focus on fired enamels painted onto a variety of sheet glass—clear and colored, transparent and opaque. Explore both black and colored enamels as well as silver stain in reflected and transmitted light using traditional and experimental painting techniques. Students will have a variety of finished work for the wall and the window by the end of the class.
C / ALL LEVELS
Cappy Thompson is a Seattle artist known for her painted mythopoetic narratives on glass using vitreous enamels. An innovator in her field, she has taught and lectured extensively. The abstract compositions of Dick Weiss’s screens are at once masculine and delicate: wide fields of colors barely touch; a heavy red heart rests gingerly atop a field of green, both suspended in empty space; and white circles float like a constellation of moons, graphically linked by the thin, black lines that connect them.
ARTISTS IN RESIDENCE
Beth Lipman explores aspects of material culture through still lifes, site-specific installations, and photographs. She lives and works in Sheboygan Falls, Wisconsin. Lipman has exhibited in the United States and abroad, and her work is in the collections of numerous museums, including the Brooklyn Museum, the Corning Museum of Glass, the Jewish Museum, the North Carolina Museum of Art, the Norton Museum of Art, and the Smithsonian American Art Museum.
Keiko Hara, a native of Japan, has had more than fifty solo exhibitions as well as numerous group shows throughout Europe, Japan, and the United States. Her works are in the permanent collection of the Smithsonian American Art Museum, Washington, DC, and museums and private collections worldwide. Hara earned an MFA from Cranbrook Academy of
Art and is a Professor of Art Emeritus at Whitman College in Walla Walla, WA, where she lives.