SESSION 2: Classical Inquiry
June 18-29, 2019
Glassblowing, Design, Color, Form
This course examines how hot-glass sculptures can impact and mediate our relationship to our body and our environment. Can glassblowing, and encounters with blown glass objects, inform our awareness of self and place? Students will investigate process, developing new speculative works through group projects and individual responses. Demonstrations will expand hot-glass techniques including color application and pattern making. Discussions and critiques will underpin the role of formal aspects including site, scale, and abstraction in conveying students’ ideas.
A / INTERMEDIATE
Benjamin Cobb holds a BFA from Rochester Institute of Technology, New York, and has been a demonstrating artist at glass studios as far afield as Sweden, Czech Republic, and Italy. In his work, Cobb draws inspiration from the natural world, as well as scientific process. Nadège Desgenétez’s work investigates interrelations between body and place, and is informed by her experiences as a migrant and a maker. Faculty at the Australian National University Canberra, Desgenétez has taught and exhibited in Europe, North America, Asia, and Australia.
Glassblowing, Ceramic Printing, Design, Digital
Seeking to unite students and teachers from both craft and technology backgrounds, this class will provide a foundation in glassworking and digital-fabrication techniques to foster experimentation between the two. Subjects for study include 3D modeling in Rhino and additive/subtractive manufacturing as well as daily demonstrations in traditional and non-traditional glassmaking in the hot shop. Armed with the skills to communicate between these two fields, students are encouraged to work collaboratively to explore materials and processes. Laptops are required.
A / INTERMEDIATE
Brandyn Callahan and Phirak Suon met at Pilchuck Glass School in 2016 and have been collaborating ever since. Callahan’s background in combining glass with materials such as ceramics, copper, and leather, and Suon’s background in art, architecture, and 3D printing have uniquely qualified the two to explore materials through digital fabrication and traditional craft techniques. They were featured artists at the Museum of Glass, Tacoma, and demonstrating artists/lecturers at the Global Pathways for Craft Forum in Mexico.
Glassblowing, Engraving, Imagery, Animation
With a focus on glass engraving, students will split their time between the Cold Shop and the Hot Shop in this course. Making basic forms in the Hot Shop to engrave, we will use the illusion of motion as a vehicle for content and narrative. Daily demonstrations using diamond, stone, and copper wheels will deepen your understanding of mark making, the tools used, and how to maintain them. Using basic technology, light, and projection, this class will experiment with ways of implying motion in imagery. Bring your sketchbooks and an open mind!
A / ALL LEVELS
Sarah Gilbert received her BFA from Rochester Institute of Technology, New York, before moving to the Pacific Northwest to work as a member of the Museum of Glass Hot Shop Team in Tacoma. She has been there ever since, assisting artists in making their work in addition to developing her own practice. Jaroslav Šára graduated from Kamenický Šenov Glass School and the Glass College in Nový Bor with a diploma in glass engraving before receiving his Master of Art degree at Jan Evangelista Purkyně University in Ústí nad Labem, Czech Republic.
VENETIAN FLAMEWORKING | FROM SOLID TO HOLLOW
Flameworking, Sculpting, Tradition
This course will mostly focus on the centuries-old Venetian tradition of flameworking. From the human figure to bugs and insects in soft glass, from the humble tumbler with Pyrex, to the most elaborate Venetian goblets in borosilicate. We will try together to reproduce the work of some of the old masters and some of the new ones. This course will deepen your understanding of the never-ending possibilities of flameworking through the exploration of those various techniques, opening doors to your creativity.
A / ALL LEVELS
Emilio Santini was born in Murano, Italy, into a family with 600 years of glassblowing tradition. He currently resides in Williamsburg, Virginia. He has recently begun to combine his flameworking talent with furnace blown and cast work. He has taught extensively in the United States’ major glass schools, and is a popular instructor for both beginning and highly skilled students.
MAKING IDEAS VISIBLE
Kilncasting, Imagery, Lost-Wax Casting
Working with molds and exploring kiln and lost-wax casting, experimental printings, and coldworking, students in this course will work to create an installation combining glass, printings, and found objects. This course will explore printing on glass using sunlight printings, photo emulsions, and linocut printings to be able to convey students’ visions. Through rigorous personal reflection and inquiry, students will utilize lectures, visiting artists, and dialogues around contemporary art to develop and make visible their own intuitions and ideas.
A / ALL LEVELS
Originally from Buenos Aires, Argentina, Silvia Levenson immigrated to Italy in 1981. Levenson has dealt with social issues ranging from migration, the tensions of daily life, violence against women, and recently, the crimes of the 1976 Argentine coup d’état as represented in her traveling exhibition Identidad Desaparecida. She received the Rakow Commission Award from Corning Museum of Glass, New York, and the Glass in Venice Prize from Instituto Veneto. Her work has been exhibited around the world and is part of several collections.
ANCIENT TO MODERN | EXPLORATIONS IN THE HISTORY OF GLASS
Writing, Art History, Research
This expansive look at the history of glass will provide an understanding of the origins of this material in the regions of the world where glassmaking has had the most significant impact. We will explore its ancient origins, the rise and importance of glass in Western Europe, most notably in Renaissance Italy, glass as America’s first industry, the fantastic innovations of the 19th century, and take a deep dive into the origins of the studio glass movement in the mid-20th century and contemporary trends in glass.
C / ALL LEVELS
Diane C. Wright is the curator of glass and decorative arts at the Toledo Museum of Art, Ohio, where she explores the infinite world of glass within the context of Toledo’s encyclopedic art collection. She has worked with glass collections at Yale University Art Gallery, Connecticut, and the Chrysler Museum of Art, Virginia, and has taught courses on glass history at the Rhode Island School of Design, Parsons the New School for Design, New York, and George Mason University, Virginia.