www .glassartcanada.ca

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CONTEMPORARY CANADIAN GLASS
VERRE CONTEMPORAIN CANADIEN
Winter 2008
$10
w w w. g l a s s a r t c a n a d a . c a
Is the glass artist morally hypocritical?
L’artiste verrier est-il hypocrite moralement ?
The art of Julia Reimer,
Haliburton School of Art &
the Fumed Vessels
of Jim Norton
A publication of the Glass Art Association of Canada
Une publication de l’association du verre d’art du Canada
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CONTEMPORARY CANADIAN GLASS
VERRE CONTEMPORAIN CANADIEN
18
Volume 6, Number 4
Winter 2008
4 President’s Message/Mot de la Président
Cover: Venus Unleashes Her
Vulcan Dogs. Kevin Lockau.
Cast glass, cast aluminum,
wood, pigments. 99x69x36
cm. Photo by
studio105photography.com
Top: Beacons 14" x 14" x 2"
each, blown glass by Bee
Kingdom. Right: Haliburton
Student Showcase. On the
Rocks - 2008 by Tia Saley.
Tumbler - 6 inches tall by
2.5 inches, Blown glass with
powder applications.
6 What’s Happening
13 Julia Reimer By Denis Longchamps
16 Student Showcase: Haliburton School
of The Arts
18 Bee Kingdom Buzz By Bruce Weir
20 Tilting at Wind Turbines By Kevin Lockau
24 The Fumed Vessels of Jim Norton
By Brad Copping
By Julia and Yolande Krueger
18
26 From the Gaffer’s Bench By Blaise Campbell
French and English translation/adaption française et anglaise Espace VERRE
The Contemporary Canadian Glass is published
quarterly by the Glass Art Association of
Canada. Your views, reviews, opinions and
articles are welcome.
Please mail submissions to:
Contemporary Canadian Glass Magazine,
371 Bronte St. S. Unit 58
Milton Ontario L9T 3K5
www.glassartcanada.ca
The Glass Art Association of Canada is a nonprofit organizaton founded in 1983. GAAC is a
volunteer, member-run organization uniting a
glass community spread over a huge and
diverse geographical area. We offer Canadian
glass makers, students, businesses, and interested individuals, a communication network
through the publication of the Contemporary
Canadian Glass and GlassWire, our electronic
newsletter. For membership rates and application form, e-mail [email protected] or
visit the website www.glassartcanada.ca
ISSN 1203-6447
[email protected]
Sally McCubbin
[email protected]
Jamie Gray
[email protected]
REGIONAL REPRESENTATIVES
DIRECTORS
Brad Copping: President
[email protected]
Jeff Goodman: Magazine Committee
[email protected]
Rika Hawes: Website & Scholarship Committee
[email protected]
Marcia DeVicque: Treasurer/Membership
[email protected]
Caroline Ouellette: School Liaison
[email protected]
Amanda McBride: Finance Committee
[email protected]
David Williamson GINN
Alberta
Khethwen Woo at
[email protected]
Saskatchewan
Jacqueline Berting
[email protected]
Manitoba
Jayne Nixon and Kathleen Black at
[email protected]
Ontario
Jeff Goodman
[email protected]
Quebec
John Paul Robinson
[email protected]
Atlantic Region
Lynne Bowland
[email protected]
STUDENT REPRESENTATIVES
Myriam Legault-Monty &
Laura Sasseville - Espace Verre
Paula Vandermey - Sheridan College
Amanda Kosciuk - Alberta College of Art
and Design
PUBLISHER/EDITOR
Yukio Yamada
[email protected]
DESIGN AND PRODUCTION
Harris Media Group
[email protected]
Contemporary Canadian Glass/Winter 2008
3
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PRESIDENT’S MESSAGE MOT DU PRÉSIDENT
BY BRAD COPPING
I read somewhere recently that uncertain times lead to
opportunities for those willing to act upon them. These certainly
seem to be uncertain times. One just has to look at the yo-yoing
price of fuel, or the value of the Canadian dollar, to see that. The
general slow down in the economy and the talk accompanying it is
as gloomy as the diminishing hours of daylight. So where is the
opportunity that exists here? If you are like me, it is a time to
examine what you are making and why. Maybe it is time to go back
to school to further your formal education or possibly just start
researching that idea, that period in history, or that other culture’s
design on your own. Maybe it’s time to build or acquire that piece
of equipment that will allow your work to grow in a new direction, or
maybe it is time to get involved in your community whether it be
local, national, or international. The possibilities to engage one’s
self are limitless and the return for you and your work is likewise
limitless.
GAAC has organized the first Handful of Glass Sale to try and
increase the amount of monies available for what we have called
scholarships in the past but are opening up as project grants, and
for future endeavors. While the project grants can still be used for
taking classes, we believe there maybe other opportunities members may wish to explore and we want to help make that happen.
I encourage all members to apply.
I would also like to take the opportunity to clarify for our English
readers, (and apologize to our French translators) that the next
GAAC conference, which is being co-hosted by ESPACE Verre in
Montreal, will be held May 26th to May 30th, 2010 and that it is
Board of Montreal Museum Directors who have declared 2010 the
year of glass in the city. This is already
shaping up to be our best conference ever,
and it is still a year and a half away.
Finally, I would encourage everyone to
apply to participate in ‘Unity & Diversity’,
which is a juried national exhibition of
works by Canada's craft community at the
Canadian Pavilion, Cheongju International
Craft Biennale to be held in October of
2009.
For details go to:
www.canadiancraftsfederation.ca/korea
The deadline for submitting is March 31,
2009 and it’s up to you to have Canadian
glass well represented.
Opportunities are out there, act on them.
4
Contemporary Canadian Glass/ Winter 2008
J’ai lu récemment
quelque part que l’incertitude peut parfois offrir de bonnes opportunités pour tous ceux qui savent les saisir.
Présentement, nous vivons des temps incertains. Pour tout comprendre, nous n’avons qu’à penser au prix de l’essence qui joue au yo-yo
ou à la valeur du dollar canadien. Le ralentissement général de
l’économie et les discours sur les conséquences sont aussi sombres
que les dernières heures du jour. Alors, où sont les opportunités dans
tout cela ? Si vous êtes comme moi, c’est le temps d’examiner et de
se questionner sur ce que vous faites. Peut-être est-il temps de
retourner à l’école pour compléter votre formation ou de chercher des
démarches à entreprendre, de réfléchir sur une période de votre vie
ou de comprendre l’importance d’une autre culture sur vous. Peutêtre, est-ce le bon temps pour acheter un équipement qui vous
manque pour faire avancer votre travail vers une nouvelle orientation.
C’est peut-être le temps de vous impliquer dans votre communauté
locale, nationale ou internationale. Les possibilités de s’engager sont
illimitées tout comme les effets sur vous et sur votre travail.
Le GAAC a organisé sa première vente « Les mains pleines de verre
/ Handful of Glass Sale » pour tenter d’augmenter les fonds monétaires pour ce qu’on appelait les bourses d’études et qui seront maintenant offertes comme des bourses de projets ou d’événements
futurs. Ces bourses de projets seront quand même disponibles pour
des cours mais nous croyons aussi que nos membres voudront
explorer d’autres opportunités. Nous ferons tout pour que cela soit
possible.
Aussi, je voudrais prendre le temps pour clarifier à nos lecteurs
anglophones (et m’excuser envers nos traducteurs francophones) que
le prochain congrès du GAAC, co-organisé par Espace VERRE à
Montréal, aura lieu du 26 au 30 mai 2010 et
que c’est la Société des directeurs de musées
montréalais qui a déclaré 2010 comme l’année du verre à Montréal. Cela promet d’être le
meilleur congrès du GAAC et ce n’est que dans
un an et demi.
Finalement, je vous encourage tous à
soumettre votre dossier pour participer à l’exposition en métiers d’art contemporains « Unité
et diversité » qui aura lieu à Cheongju, Corée,
en octobre 2009 et qui est organisée par la
Fédération canadienne des métiers d’art. Pour
plus de détails visitez :
www.canadiancraftsfedera/kotion.carea La date
limite pour s'inscrire est le 31 mars 2009.
Faites que le verre d’art canadien soit bien
représenté.
Les bonnes occasions sont là, agissez.
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WHAT’S HAPPENING & REVIEWS
Robert Held Art Glass, one of
Canada’s largest glassblowing studios located in Vancouver, British
Columbia is currently seeking experienced production glassblowers.
Successful candidates should possess the following skills: the ability
to produce a large volume of work
on a daily basis, be farmiliar with
the use of wooden moulds, and
also be comfortable working in a
team. Salary commesurate with
experience.
Please forward resumes along
with photos of your work to:
Robert Held Art Glass
2130 Pine Street
Vancouver, BC V6J 5B1
Att: Elizabeth Curry
Or via email to:
[email protected]
Photo courtesy Siegelson
Quarter share in Kingston
Glass Studio & Gallery
A founding partner in KGSG is looking for someone or some ones, to
buy the offered share and assets that
are part of the sale. The share
includes half of most of the equipment needed to work at a glassblowing studio.
Kingston Glass Studio & Gallery
islocated in the historic downtown
Limestone City, Kingston, Ontario.The
downtown core of Kingston is a very
vibrant and happening area. Queens
University is about a 15 minute walk
from the studio; the Royal Military
College and Fort Henry, a world designated heritage sight, is just across
the water, and Princess Street, which
is the main street in Kingston,and is
full of great restaurants, pubs, small
shops, and lots of walking traffic is
only one street over.
KGSG itself, has been a glassblowing studio for over a decade,
though formerly known as Fireworks
Glass Studio. The gallery saw major
renovations in January of 2008,
which enhanced the space and
appeal of the gallery. The gallery’s
reputation is well known among the
locals and returning tourists, and
also has a very good repertoire with
the surrounding art galleries and
shops. KGSG participates in com6
munity events and studio tours and
the gallery is widely advertised in
important local and provincial magazines and publications.
Right now, the gallery is run as a
partnership between MJH Glass
Designs, David Thai, and Cheryl
Dunsmore.
Contact Cheryl Dunsmore. Gallery
Number: 613.547.9149
Email: [email protected]
The ROM Sparkles with A
Season of Gems
Starting this December, the Royal
Ontario Museum (ROM) celebrates A
Season of Gems with two exhibitions
and a new permanent suite of galleries showcasing some of the
world’s most dazzling diamonds,
gemstones and minerals.
The Nature of Diamonds
On display until March 22, 2009
This exhibition explores
humankind’s ongoing interest in the
diamond, providing an examination
of diamonds as a natural substance,
burrowing into its geologic origins,
how it is mined, its cultural significance in art, literature, and ornamentation, and its numerous uses in
modern science and technology.
Featured among the approximately
500 objects, is the Incomparable
Diamond; the third largest diamond
ever recorded weighing an astonishing 407.48-carats. The Nature of
Diamonds is on display in the
Garfield Weston Exhibition Hall, Level
B2 in the ROM’s Michael Lee-Chin
Crystal. The ROM is the sole
Canadian venue to host the exhibition during its exclusive North
American tour.
The Nature of Diamonds is organized by the American Museum of
Natural History, New York
(www.amnh.org), in collaboration with
the Royal Ontario Museum, Toronto;
The Field Museum, Chicago; and the
Houston Museum of Natural Science.
Teck Suite of Galleries:
Earth’s Treasures
On permanent display beginning
December 20, 2008.
The ROM furthers the examination
of nature with a permanent suite of
galleries, featuring the Vale Inco
Limited Gallery of Minerals, the
Gallery of Gems and Gold and the
Millerite
Canadian Mining Hall of Fame
Gallery. The Teck Suite of Galleries
occupy a combined total of 6,900
square feet and showcase the ROM’s
exceptional specimens of minerals,
gems, meteorites and rocks, a collection among the finest in North
America. The captivating displays
located on Level 2 of the Weston
Family Wing are contextualized by
over 40 interactive touch screen stations, fascinating video exhibits and
engrossing information on Canada’s
mining industry.
Light & Stone: Gems from the
Collection of Michael Scott
Princess Mathilde corsage ornament, Theodore Fester, c.
1855. Diamonds, silver-topped gold. Made for Princess
Mathilde, niece of Napoleon I.
Contemporary Canadian Glass/ Winter 2008
On display from December 20,
2008 to November 15, 2009
Arguably the most important private collection in North America, the
Michael Scott Collection has few
rivals in the world, outside the royal
families. The exhibition brings together over 200 impressive pieces, all
mindfully chosen by Mr. Scott to represent the quality and diversity of
crystals and gems, as well as their
striking range of colour. This exhibition is on display in the Gallery of
Gems and Gold, within the new Teck
Suite of Galleries: Earth's Treasures.
Photo courtesy of Royal Ontario Museum, 2008
Seeking glass artist
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Royal Ontario Museum, 100 Queen's Park,
Toronto, Ontario M5S 2C6
416.586.8000
www.rom.on.ca
Gregory Nangle Solo Exhibition
Photo by Matthew Hollerbush
Silica Galleries is pleased to present new work
from Philadelphia artist Gregory Nangle,
December 13, 2008 to February 1, 2009.
Born in 1973 under the cold November skies
of Pennsylvania, Gregory Nangle first began making sculpture at the tender age of two when he
began experiments with the family clocks and
radios. Gregory went on to study glass at the
Tyler School of Art in Philadelphia. He also
attended the University of Hartford Art School
where he built his first metal casting furnace and
illegally ran metal pours after hours in the
school's sculpture department.
After discovering the joy of inducing metal into
it's liquid state, Gregory became focused on
marrying the two new materials on his palette.
The love of creation led Gregory to pursue his
own studio, which he established in a post-apocalyptic neighborhood in Philadelphia. Outcast
Studios was born and it is here that Gregory has
had the chance to research and develop his own
sculpture.
Silica Galleries, located in the studio of
Philadelphia Glass Works, represents the next
generation of contemporary sculptors with a concentration in glass who are devoted to their
medium and are committed to pushing the
boundaries of classical technique.
www.silicagalleries.com
continued on page 8
Take Everything 2008 Gregory Nangle
Glass and Bronze
8" x 8" x 23"
Contemporary Canadian Glass/Winter 2008
7
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WHAT’S HAPPENING & REVIEWS
Continued from page 7
Dichroic By Design contest
2008 First Place Winner is Shelly
Lewis-Shelly who won $500 worth of
CBS dichroic glass. Her piece entitled
Burstette (above) is a 22 leaded
glass creation made up of 283
pieces of unfused CBS Dichroic glass
and various faceted cabochons.
Coatings By Sandberg would like
to thank all of the participants of the
Dichroic by Design contest. They had
a great response with hundreds of
photos of many great pieces. All
entries that qualified were considered and with the number of high
quality pieces they received, it made
it an incredibly difficult decision for
the judges.
The creativity, the variety, the
diverse use of Dichroic, and the artistic abilities of their loyal customers
was unimaginable. More than
$3,000 worth of prizes will be awarded. Visit www.cbs-dichroic.com for
information on the 2009 Dichroic By
Design Contest.
AACG is a not-for-profit organization whose mission is to further the
development and appreciation of art
made from glass. The Alliance
informs collectors, critics and curators by encouraging and supporting
Museum of Glass Receives
Award from Art Alliance for
Contemporary Glass
The Museum of Glass is the recipient
of the Art Alliance for Contemporary
Glass (AACG) Annual Award for
2008. The award was
presented to Museum of Glass
Director Timothy Close on Saturday,
November 8, 2008, at the Sculpture
Objects and Functional Art (SOFA)
exposition in Chicago.
8
Contemporary Canadian Glass/ Winter 2008
Glass Kimono by Reiko Fujii of
California who will be presenting
this in the Corning Glass Art
Society Glass Fashion June 13,
2009. It is not too late to sign
up to make a costume. Contact:
[email protected]
CCG winter 2008
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Page 9
museum exhibitions, university glass departments and specialized teaching programs,
regional collector groups, visits to private collections, and public seminars.
"We are very honored to be the recipient
of this prestigious award," states Close. "The
Museum of Glass strives to be the best contemporary glass museum in the world by providing inspiring exhibitions in our galleries,
entertaining and explanatory demonstrations
in our Hot Shop, and engaging educational
programs for our visitors-all with the goal of
making glass and art accessible to all."
Each year AACG selects one organization
to be honored for its contributions to the
contemporary glass movement. Along with
the award, the Museum received a $5,000
gift. Previous recipients of the AACG Annual
Award include The Museum of American
Glass at Wheaton Arts and Cultural Center
(2005), Renwick Gallery of the Smithsonian
American Art Museum (2003), The Studio of
the Corning Museum of Glass (1999) and
Pilchuck Glass School (1995), among others.
Info Line 253-284-4750
1-866-4MUSEUM.Museum of Glass, 1801
Dock Street Tacoma, WA 98402
Continuing Exhibitions
The Canadian Clay & Glass Gallery until
January 25, 2009.
Ted Goodden's exhibition Glory Boy. A fairy
tale told through light.
Balancing the useful person we strive to
become with the child we value in ourselves
and others. According to Godden, glory traps
those things that suck the wonder our of
everyday life. Similarly through stained glass,
he argues, "We see things by light, but we
don't see light itself, however, stained glass
can trap the light and break it up.
"Goodden's stained glass windows and drawings narrate the journey of the fairy tale's
main character, Gert
Other exhibitions:
Christine Davis: Lens
Michele LapointeI: Contes Muets/Silenced
Tales
Tanya Lyons: Reflect
Canadian Clay and Glass Gallery. 25
Caroline street N., Waterloo Ontario N2L 2Y5
Tel: 519-756-1882
www.canadianclayandglass.ca
Jeff Wallin: Tension
Until January 31, 2009 at Bullseye Gallery.
Expressive and gestural figure studies, broken
and reassembled. New work by Portland
artist Jeff Wallin, winner of the 2007 Sybren
Valkema Award and residency at Vrij Glas
near Amsterdam.
continued on page 11
Contemporary Canadian Glass/ Winter 2008
9
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WHAT’S HAPPENING & REVIEWS
Continued from page 9
PSU Project: Waiting for Godot
January 6 to February 28, 2009 at Bullseye
Gallery. A special glass installation created by
Portland State University art and architecture students and Professors Susan Harlan and Jeff
Schnabel, in collaboration with the Bullseye
Research and Education Department.
www.bullseyegallery.com.
Corning workshops
Ten-Week Sessions
These 10-week courses allow students of all levels to explore glassmaking. Classes meet once
each week for three hours. Each class begins the
week of March 1 and ends the week of May 3.
Tuition is $440 for the entire 10 weeks. Visit
www.cmog.org/thestudio or call (607) 974-6573
in advance to register.
* Beginning Glassblowing: The Best Gather Ever
* Next Steps in Glassblowing: Don't Sweat
the Technique
* Continuing Glassblowing
* Flameworking
* Beadmaking and Jewelry Design
Weekend Workshops
Weekend workshops, held Saturdays and
Sundays from 10:00 a.m. to 4:00 p.m., offer students the opportunity to study glassworking without making a long-term commitment. Tuition for
each weekend workshop is $220. Visit
www.cmog.org/thestudio for dates. Call (607)
974-6573 in advance to register.
* Glassblowing
Beginning Glassblowing
Next Steps in Glassblowing
* Flameworking
Beginning Flameworking
Next Steps in Flameworking
Jewelry Techniques in Borosilicate
Bead Basics: Introduction to Flameworked
Beads
Next Steps in Creating Flameworked Beads
Elements of Flower Construction
* Flat Glass
Introduction to Fused Glass
Fused Glass Jewelry
Beginning Stained Glass
Next Steps in Fusing
Painting on Glass
Precious Metal Clay and Glass
Next Steps in Using Precious Metal Clay
and Glass
Flat Glass Techniques
Photosandblasting Glass
The Glass Art Association of Canada
wishes you and your families
all the best for the holiday season.
L'Association du verre d'art du Canada vous souhaite,
à vous et votre famille, un joyeux temps des Fêtes
galerie elena lee
18 novembre 2008 – 24 février, 2009 / November
18, 2008 – February 24, 2009
Rétrospective 2008, regard sur 2009
Retrospective 2008, 2009 Preview
1-12 janvier 2009 / January 1-12, 2009
LA GALERIE SERA FERMÉE / GALLERY WILL BE CLOSED
13 janvier 2009 / January 13, 2009
RÉOUVERTURE / GALLERY RE-OPENS
3 - 24 mars 2009 / March 3 – 24, 2009
La Relève de Montréal – Emerging Montreal artists
7 – 28 avril, 2009 / April 7 – 28, 2009
Alex Anagnostou
Sculptures de verre récentes / recent glass sculpture
www.galerieelenalee.com
1460 Sherbrooke O., Suite A, Montréal (Québec) Canada H3G 1K4
t: 514-844-6009 e: [email protected]
Contemporary Canadian Glass/ Winter 2008
11
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Photos by John Dean
Top: Nascent
Blown and solid sculpted glass 13 x 7"
Above: Watergauge
Solid sculpted glass and metal 37.5 X 3"
Left Window Series
Blown glass max 18"
12
Contemporary Canadian Glass/ Winter 2008
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THE FIRST EVER RBC GLASS AWARD RECIPIENT
PREMIÈRE RÉCIPIENDAIRE DU PRIX RBC EN VERRE
JULIA
REIMER
BY DENIS LONGCHAMPS
Julia Reimer came to glass after studying economics and political science at University. She
took an evening class at the Alberta College of
Art and Design (ACAD) in glass blowing. From
that first one, she was hooked and after her
graduation in 2000 she pursued her education
with specialized courses at The Pilchuck Glass
School (Washington), the Studio at Corning
(Corning, New York) where she was artist in residence in 2002, and at the Northlands Creative
Glass (Scotland). She also studied glass practices in France, Hungary and Spain. For Reimer,
it is important to see glass production in context
in countries where tradition of glass blowing is
rooted in a long history. Such history is lacking
here in Canada and this void gives to the glass
blowers creative freedom, yet, one that is neither
informed nor rooted in a tradition.
continued on page 15
Julia Reimer est arrivée au verre après avoir commencé
des études universitaires en économie et science
politique. Elle a pris un cours du soir au Alberta College
of Art and Design (ACAD) en verre soufflé. Dès ce premier contact, elle a été accrochée et après avoir gradué
en 2000, elle a poursuivit son éducation avec des cours
spécialisés au Pilchuck Glass School (Washington), au
Studio at Corning (Corning, New York) où elle a fait une
résidence d’artiste en 2002, et au Northlands Creative
Glass (Scotland). Elle a aussi étudié les pratiques du
verre en France, en Hongrie et en Espagne. Pour
Reimer, il est important de voir les productions en verre
dans leur contexte, surtout dans des pays où la tradition
du verre soufflé est ancrée dans une longue histoire.
Une telle histoire n’existe pas encore au Canada et ce
vide donne au souffleur de verre une liberté de création
qui, malgré tout, n’est ni informée, ni enracinée dans
une tradition.
suite à la page 15
Contemporary Canadian Glass/ Winter 2008
13
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Photos by John Dean
Top: Ripe
Blown and solid sculpted glass 9 x 9"
Left Rose Vase
Blown and solid sculpted glass 18 X 5"
14
Contemporary Canadian Glass/ Winter 2008
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Page 15
Reimer continued from page 13
Reimer suite de la page 13
Reimer is inspired by her surroundings. The crisp
light of cold winter days in the prairies has always
been a fascination. When she was younger, she was
mesmerized by the distortion of light reflecting on
the white snow or on the ice surface of rivers and
lakes. The long and seemingly endless and slow
undulating lines of the local landscape around Black
Diamond, where she shares a studio with husband
and glass artist Tyler Rock, are also a source of
inspiration. Reimer feels that we are oblivious to
our surroundings and of what she called “its day-today aesthetic”. This understanding is what brought
her to design and decorative arts, and more specifically to creating one-of-a-kind vessels.
Reimer and Rock were co-presidents of the Glass
Art Association for a few years. She always believed
in the importance of community to promote and
increase awareness. During her term, she organized
the first Canadian juried contemporary glass exhibition which received over 350 submissions. Titled
Lucent, the exhibition was presented in 2007 at the
ACAD Illingworth Kerr Gallery. Rock is also a mentor
for Reimer as are John Paul Robinson, Norman
Faulkner and Blaise Campbell whom she admires for
their work and teaching abilities. She states that the
instructors and the whole atmosphere at ACAD during her time there was conducive for individual and
carefree creativity.
An important mentor for Reimer is Masahiro
Sasaki, who is the Head of the Glass program at
Aichi University of Education near his home in
Nagoya, Japan. In 2009, Reimer intends to meet
and study with Sasaki the Mingei design, a Japanese
folk art popular in the 1920s. While her interest
lays in academic research and study of Mingei collections history and tradition, the richness of knowledge
will generate many ideas for her own design. While
there, she will not exclude the possibility of experimenting with new techniques.
This upcoming research project was part of her
application for the RBC glass award offered for the
first time by the Canadian Clay and Glass Gallery
(CCGG) in partnership with the Royal Bank of
Canada. Julia Reimer is the first recipient of this
prestigious award of $ 5000. Discussions are well
underway between the CCGG and the RBC to make
this prize an annual event to support young artists in
their explorations. Julia Reimer is represented by
many galleries across Canada including Galerie Elena
Lee in Montreal, Lafreniere and Pai in Ottawa, and
the West End Gallery in Victoria.
Reimer est inspirée par ce qui l’entoure. La lumière
vive des jours d’hiver dans les prairies a toujours été un
enchantement. Quand elle était plus jeune, elle était
fascinée par la distorsion de la lumière réfléchie sur la
neige blanche ou sur la surface glacée des rivières et des
lacs. Les lignes ondulantes, longues et apparemment
sans fin du paysage local de Black Diamond, où elle
partage un studio avec son mari et artiste en verre Tyler
Rock, sont aussi une source d’inspiration. Reimer croit
que nous ne sommes pas conscients de l’environnement
quotidien et de ce qu’elle appelle « l’esthétique de tous
les jours. » Cette compréhension l’a amenée au design et
aux arts décoratifs, et plus spécifiquement à créer des
contenants en pièces uniques.
Reimer et Rock ont été co-présidents de la Glass Art
Association durant quelques années. Elle a toujours cru
en l’importance de la communauté pour promouvoir et
sensibiliser. Pendant son terme, elle a organisé la première exposition canadienne de verre contemporain avec
jury qui a reçue plus de 350 soumissions. Intitulé
Lucent, l’exposition a été présentée en 2007 à la
Illingworth Kerr Gallery à ACAD. Rock est aussi un mentor pour Reimer, tout comme John Paul Robinson, Norman
Faulkner et Blaise Campbell dont elle admire le travail et
les habilités pédagogiques. Elle déclare que les professeurs et l’atmosphère en général à ACAD quand elle y
a fait ses cours, était propice pour la créativité libre et
individuelle.
Un autre mentor important pour Reimer est Masahiro
Sasaki, qui dirige le programme de verre de la Aichi
University of Education près de chez lui à Nagoya, au
Japon. En 2009, Reimer ira le rencontrer pour étudier
avec lui le design Mingei, un art populaire japonais des
années 1920. Bien que son intérêt se situe au niveau
des recherches académiques et à l’étude de l’histoire et
des traditions des collections Mingei, la richesse des connaissances va générer plusieurs idées pour ses propres
créations. Alors qu’elle sera là, elle n’exclut pas la possibilité d’expérimenter avec de nouvelles techniques.
Ce nouveau projet de recherche faisait partie de son
application au Prix RBC en verre offert pour la première
fois par le Canadian Clay and Glass Gallery (CCGG) en
partenariat avec la Banque Royale du Canada. Julia
Reimer est la première récipiendaire de ce prix prestigieux
de $ 5000. Les discussions vont bon train entre le CCGG
et la RBC pour faire de ce prix un événement annuel afin
d’appuyer les jeunes artistes en verre dans leurs explorations. Julia Reimer est représentée par plusieurs
galeries au Canada dont la Galerie Elena Lee à Montréal,
Lafrenière et Pai à Ottawa, et la West End Gallery à
Victoria.
Denis Longchamps
PhD candidate, Art History
Concordia University, Montreal, Quebec
Denis Longchamps
Candidat au doctorat en histoire de l’art
Université Concordia, Montréal, Québec
Contemporary Canadian Glass/ Winter 2008
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HALIBURTON SCHOOL OF THE ARTS
STUDENT SHOWCASE
Prochaine génération d'artistes
Next Gen Artists
2
3
1
4
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Contemporary Canadian Glass/ Winter 2008
4A
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5
7
6
Ignite your creativity Looking for a breath-taking,
natural setting to ignite your creativity?
The Haliburton School of The Arts, located on the
shores of Head Lake in the beautiful Haliburton
Highlands, offers a number of options for students interested in the fine arts.
A Visual and Creative Arts diploma program, 14-week
fast-track Certificate programs, as well as week-long
summer courses and workshops are available for everyone - from the beginner to the master artist.
State-of-the-art studios and renowned artist instructors ensure students have an enriching and fulfilling
experience, and pathways to partner colleges and universities ensure graduates can continue learning within their
craft. www.HaliburtonSchoolofTheArts.ca
Artists’ statements on page 26
1. Ian Milligan
Water’s Depth- 2008
12” x 3.2” x 3.2”
Blown glass.
2. Tia Saley
Sari Vases - 2008
Varied heights ranging from 14 to 20
in. Blown glass with powder applications
and Sandblasted finish.
3. Bryce Petersen
Homage to William Morris- 2005
Approx. 28" x 14" x 10"
Glass, found objects.
4. Simone Anscomb
Burning Truck - 2008
8” x 5.5”
Blown Glass, Sandblasted,
Paradise Paints.
4A. Monsieur - 2008
5” x 3”
Blown glass.
6. Lia Howe
Red Storm - 2005
6 1/2 inches high
Blown glass.
7. Randy Barba
Winter Snowscape - 2008
13” Height
Blown glass.
5. Will Ruppel
Frost section - 2008
9.5"h x 10 3/4"w x 5/8" d.
Plate glass, coldworked.
Contemporary Canadian Glass/ Winter 2008
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Page 18
BEE KINGDOM BUZZ
Interview by Bruce Weir. Reprinted with permission from Legacy, Alberta's Magazine for New Heritage, Arts, and Culture, Fall 2008. www.legacymagazine.ab.ca.
Left to right: Ryan Marsh Fairweather, Tim Belliveau
and Phillip Bandura.
The skateboards neatly lined up at the back door are the first clue that this house on a quiet street in
northwest Calgary is a little different from its neighbours. That impression is confirmed further inside, where
every available shelf, inch of mantelpiece, or patch of floor holds a piece of glasswork, and the front bedroom has been converted into an art gallery. Oh yeah, and the garage houses a glass-blowing studio complete with a melt furnace holding 90 kg of molten glass. This is the live-work space of Bee Kingdom, an arts
collective consisting of Phillip Bandura, Ryan Marsh Fairweather, and Timothy Belliveau. The three met at the
Alberta College of Art + Design, from which they graduated in 2005.
They have been living and working together ever since. The fact that they still get along might be attributable to their relative youth—Bandura and Fairweather are 26, Belliveau is 25—but more likely it’s their shared
commitment. “We’re pretty aggressive about making it happen,” Belliveau says. “Living like we do, it’s pretty
tight communal living and it’s a lot of hard work—even when we began it was seven days a week.”
Lately that dedication has been paying dividends. The Future is Later, their exhibition, which was seen at
the Alberta Craft Council and the Art Gallery of Calgary, is now on display in Germany. This kind of attention
means Bee Kingdom is gradually shifting its focus to fine art work, although it still entertains commissions
of a more practical nature.
It all makes their name even more appropriate. The three men explain that Bee Kingdom is fitting
because they live communally, their studio is their kingdom, and molten glass looks a lot like honey. To that
list can be added the fact that, for Bandura, Fairweather, and Belliveau, life right now is pretty sweet.
What is it about glass that attracts you?
Phillip Bandura: I think we’re all fairly driven to take glass and use it in unique
ways—in a very sculptural way.
Ryan Marsh Fairweather: We take cues from traditional glass-blowing and from
the contemporary glass movement, but then we’re reusing them to make what
we want to make. We’re not really worrying about it sitting on a countertop and
people being able to put flowers in it. We’re just using glass as a medium to
express our interests, so it’s definitely work you’re not going to find anywhere
else.
that to Russian constructivism, like Soviet art. I made propaganda posters from
the pine beetle’s perspective and sculptures that were supposed to be monuments to their greatness.
RMF: I got interested in vinyl toy culture—cute culture—originally from Japan.
Then watching some nature videos—Planet Earth—I got interested in deep-sea
creatures and birds of paradise. I have these little collectible figures. So I kind
of fused those to start. That ended up turning into a project where I had this
idea called Weather Machines, which is this story I’ve created about a universe
where machines that were created to cleanse the world of pollution end up
taking over the planet, erasing mankind and starting life on their own. They
consume everything, but I use cute culture to put a cute spin on it.
How would you describe your aesthetic?
RMF: A lot of the collective work these days is turning into large-scale sculptures. In the past, it was small, functional work. We’re not as interested in making that, and it doesn’t pay the bills as well. We’re going to push the scale, the
complexity. That’s been more successful in terms of our satisfaction and public
perception.
PB: Usually the group work ends up being much more about glass as a medium—
That show was mounted in Edmonton and Calgary last spring and is going
to Berlin this October. What was the response like?
TB: We actually got really good response – people could get right into the ideas
and talk about it. And that’s one of the biggest rewards, when people engage
with it and come up with their own perspective on it. Maybe people are not
talking about post-apocalypse but we’re all definitely concerned with climate
change, and environmentalism is a huge deal—it’s the subtext of most political
conversations. This is our way of bringing that up, and we asked questions, like,
What do you think is happening? How do you see things?
RMF: —it demonstrates its fluidity and colour and texture.
What about your individual fine artwork, the sort of thing in your show, The
Future Is Later? Where does it come from?
PB: The thing is, most people are probably terrified that humanity will be
erased. But maybe once we’re erased it will be super-cute.
So one of your goals with your art is to provoke?
Timothy Belliveau: Our different works touched on the same themes in different
ways,and we were looking at ways to join them together in a single exhibit.It
turned out we had this one thing in common: we loved the post-apocalypse
and futurism.
I read a lot of natural history, and a lot of my work is developed from popular ways of looking at nature—the ways we term it, describe it, and collect it.
You also kind of project your cultural ideas onto nature, which tends to involve
myth—and that makes its way into what I’m doing.
PB: I’m really interested in political satire and social constructions. My work for
the show is sculptures made from the pine beetle’s perspective. Life has never
been better for pine beetles; they live in a grand society. So, I started to link
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Contemporary Canadian Glass/ Winter 2008
TB: If the work gives people a starting place for conversation then that’s a good
goal to have. I like doing my art because I have to and it’s just this impulsive
thing. But I like a dialogue with people. It’s not enough to just do it for myself. I
will do it anyway, but I really want to know what people think.
PB: Art is just another way of expressing yourself and communicating. I think
the worst thing that can happen is when people don’t have any response. It
always good to have some response because the reason it was made was to
be a form of communication, to talk about something in a visual way.
TB: And you’ve been trying to offend people for a long time. [Laughter]
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Z
PB: Yeah, I haven’t been able to offend anybody. [Much laughter] But when
you talk to people and find out what they think of your work and how they
relate to it, it gives you more inspiration and ideas about continuing that dialogue. When the work is a conversation, then feedback—positive or negative—
just leads to the next thing.
PB: There’s a whole support system of people who have helped us get to
where we are. It’s a very tight community and no one’s worried about competition. The more people know about glass art and what can be done with
glass—they get excited and that helps everyone.
What is next for you guys?
You run a gallery in your home studio and regularly host open houses
where you demonstrate glass blowing. How important is that public outreach to your work?
RMF: The last three years have been spent building the foundation of what
we’re doing. Right now, we’re in a period where we’re working towards a point
where we can explicitly make our fine art. In the meantime to reach that point
we’re doing a lot of sculpture to help pay the bills.
RMF: It’s one of our aims for sure. We had our fifth open house in April and it
might’ve been the best.
You mean commissioned work?
RMF: We have people coming to us asking, “I’ve got this nook, it’s about four
feet high and 10 inches deep. Can you make something?” It’s great to go to
their house and look around. It’s like a big math problem; you have to figure
out what is going to work best in this space. And then you get a response that
they love it, so you know you got the equation right.
PB: We’ll go in and look at a specific spot and do a commission, which most
artists wouldn’t touch with a 10-foot pole. To go into someone’s house and
make a piece that matches the decor would be offensive to a lot of artists.
For us, that’s more on the design side. That’s what’s fun about it—you get to
meet these people. A lot of the time we’ll go over and hang out with them for
a bit.
RMF: The best wine I ever had in my life, I had at a client’s one night. So there
are benefits to working with clients like that.
PB: I think Calgarians are really yearning for a larger art scene. They want to
get to know artists. We’ve just tried to make ourselves as accessible as possible because, since glass blowing is a group activity, it sort of makes it personable. We have to work with each other; so bringing other people to see what
we do isn’t really a problem.
TB: The open houses get bigger every year. You know, it’s going to outgrow this
house pretty soon. It’s nice because it’s a welcoming atmosphere. It’s like
home; it doesn’t feel like an art gallery. I always have a lot of fun at them.
That notion of fun comes up a lot in your work. How important is it to you?
PB: I think we always try to have fun—
RMF: —Yeah, because it will pervade everything. You can tell when someone is
having fun or enjoying themselves because that definitely becomes apparent
in the energy of the work.
And what if things stopped being fun?
Until the art pays the bills, then, you’re happy mixing in commissions?
PB: All these different things keep it fresh. The one time we all start to get
nervous is when things start to feel stagnant. That’s why we’re all so excited
now because there’s so many different things coming up and really pushing us
to a higher level of being respected in our community.
PB: We’re all really driven and passionate about pursuing art; I think that’s why
we’ve kept doing it. Since we are in a group we’ve kind of locked ourselves in.
If one of us decided to stop making work it would be a big thing because it
would sort of crumble the group.
TB: I don’t think any of us know how to stop, though.
The notion of community comes up a lot in your work. What is its importance?
Bruce Weir is a freelance journalist and editor, living in Calgary.
Contemporary Canadian Glass/ Winter 2008
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never could get through Cervantes' allegorical classic.I
have tried several times without creasing the spine. But
I do have my sympathies or shared illusions with Don
Quixote. Unlike Quixote, I am ‘deliberately’ trying to reinvent myself – twenty some years of working with cast
glass, twenty of learning from students, twenty of making
sculpture that asks questions about our culture. The only
thing that I know for damn sure is that I know nothing
with certainty. I couldn't justify charging a windmill, and
yet, here I am, tilting a bit.
Prior to this autumn, the Canadian conscious hit the
ground running with the issue of global warming. We were
over denial and taking it personally. It seemed like a
bedrock shift had taken place. How we live, work, travel
and consume was called into question and a carbon-footprint tag was annotated to just about everything.
When this current financial ‘crisis’ hit, fewer references
to the environment held even a CBC audience, but at the
time, and hopefully again soon, the public was talking
green.
Christy Haldane, curator and glass artist, was actively
walking the walk. It was her e-mail call for entry for a
sculpture show challenging artists to use one of the ‘last six’
(or was it six hundred, sixty-six) materials that are destined
to be landfilled and not processed in even ambitious recycling programs that caught my attention. My private
response was to critically look at the materials I use in my
own sculptural work – especially glass. I began to feel more
than a bit morally hypocritical.
Does the world need to burn fossil fuels to make decorative glass? The cullet to make that glass transported from
where? China, for some. Coloured with German glass rods
and powders, you cagily ventilate skyward because you
know it foolish to breathe in the studio yet are OK to piss
in the ocean of atmosphere? While environmental impact is
applied to everything we do, it is more than symbolic when
it is applied to your livelihood. It is more hypocritical,
when the objects we make of glass serve to reference the
land and have some dialogue with issues of the environment. Yes, every activity has an impact, every material has
it’s impact, but does the world need your creative skills and
talents applied to this material?
While these questions are contemporary, they are not
originally mine. My consciousness was awoke by (then)
Sheridan students such as Sally McCubbin and the following year by Marcia Christie. As an instructor, I at first
found the mire of environmental questioning very frustrating, and assumed bull-headedly and naively that it was
symptomatic of creative stagnation – a virus that over-summered in the third year room. I never imagined that I
myself would be infected when I took it home to work on
sculpture full time. I don’t know if Stefan Dion ever visited
the glass studio at Sheridan, but during the last federal election...for him a mutation of that virus proved fatal.
My ongoing series of sculptures inspired by Canadian
landscape metamorphosed to become representative of my
Tilting At
Wind Turbines
Par Kevin Lockau
S’incliner
devant les
moulins à vent
Je n’ai jamais pu compléter la lecture de l’œuvre classique
et allégorique de Cervantès. J’ai essayé plusieurs fois sans
trop plier l’échine. Mais je sympathise beaucoup avec Don
Quichotte et je partage quelques-unes de ses illusions.
Contrairement à Don Quichotte, j’essaie toujours de me
réinventer. Depuis une vingtaine d’années je travaille le
verre coulé, je bénéficie du partage avec les étudiants et je
crée des sculptures qui remettent en question notre culture. La seule chose que je sais réellement, c’est que je ne
connais vraiment rien avec certitude. Je ne peux justifier
de charger un moulin à vent, mais voilà que je m’incline
un peu.
Juste avant l’automne, la conscience canadienne a baissé
à son plus bas niveau au sujet du réchauffement planétaire. Nous n’étions plus dans le déni et prenions les
choses à cœur. Tout semblaient avoir changé, car nous
avions remis en question la façon de vivre, de travailler,
de voyager et de dépenser. Nous avons accordé une
valeur en carbone à presque toute chose. Lorsqu’on nous
avons été informés des détails de la « crise » économique,
peu d’aspects environnementaux ont été considérés sur les
ondes de CBC. Tout de même, à ce moment là et peut-on
espérer de plus en plus, les gens parlent et parleront
quand même « vert ».
Christy Haldane, commissaire d’exposition et artiste
verrier, est activement passée de la parole aux actes. C’est
suite à la page 22
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Contemporary Canadian Glass/ Winter 2008
continued on page 22
Photo by studio105photography.com
I
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p
g p y
CCG winter 2008
y
Do Unto Others Forged steel by Duerst,
sand cast glass 166x78x78 cm
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Lockau continued from page 21
Lockau suite de la page 21
changing attitude and acceptance of the cultural greening and
my own responsibility as a citizen. I believe one of the roles of
any artist is to make visual the mythologies of our times, I
wrestled with my sculpture to flesh this changing attitude, and
especially to make it personal – if only for myself.
If art, and I include all arts, can create a discourse about
who we are, or more importantly, of who we aspire to be, it is
of value to the greater society. Arts and culture in the broadest
sense are important. Wasn’t this why we crowed indignant
over Harper’s remarks about elitist shi-shi vernisages at the
tax-payer’s expense? He was voicing the opinion that of ‘Joe
Plumber’ or in my neighbourhood, ‘Bob the Bushworker’, and
ultimately our Head of State, thinks that what we do is irrelevant. In many ways, he was right.
Joe Blow wouldn’t give a cold punty to the environment if
he feels the big hand on his paycheck. That Joe Plumber
thinks that renewable energy is fantastic as long as the wind
turbines are out of sight of home and hunt-camp. That Bob
the Bushworker is alienated, somewhat hostile and definitely
suspicious of artists...’.whatever it is that they do’. And we
have ourselves to blame.
The political morticians said that the Liberals (and by
default, the Greens), didn’t sell the green shift properly to
Canadians. We, as creative people, as makers, artists, designers, craftspeople (it’s a big camp), don’t sell ourselves well to
the broad public either. And if we don’t care about this – then
we are elitists.
Most of the public taste is eighty years behind the times in
painting and sculpture. If you think that as a maker of production glass that this doesn’t apply to you, then think again. As
creative people, we all share the possibility and responsibility
of what we make. Does our culture we live in value the ‘made
by hand’? Does it appreciate or understand the design process
behind the work, the materials used, or care about your concept? Whose voice speaks for the importance of what we do?
Whose voice speaks for you? Is the voice local and organic
(yours), or sold packaged and government approved (a council),or is it the iconic and global Chihully’s that even Bob the
Bushworker has seen on TV? Whose face do your neighbours
think of when they imagine an artist?
By accepting the full mantle of this creative life, we share in
its’ potential. This challenge is not to be taken only for your
ego, but to share your skills to strengthen the community in
which you live. Your creative and problem solving skills could
be invaluable to issues beyond the arts specialty, but to your
wider interests and concerns.
Our art and culture can define us as a nation, and tilt our
perceptions of beauty, of value or of being a citizen. That is
work worth making. Perhaps that is worth a centimeter of
melted permafrost.
son courriel pour un appel de dossiers d’une exposition de
sculptures utilisant un des six derniers matériaux (ou était-ce
600 ou 66 ?) destinés au dépotoir puisque non recyclables par
aucun programme, même le plus ambitieux, qui a capté mon
attention. Personnellement, je remets en question tous les
matériaux que j’utilise dans mon travail sculptural, surtout le
verre. Je me suis senti moralement hypocrite. Es-ce que le
monde a besoin de brûler plus de combustible fossile pour
fabriquer du verre décoratif ?
Le calcin provient de quel pays ? La Chine pour certains
verriers. Coloré avec des tiges et du verre en poudre
provenant d’Allemagne.
Nous ventilons prudemment
Most of the public
les vapeurs des cuissons de
taste is eighty years
verre vers le ciel parce qu’on
sait très bien qu’il ne faut
behind the times in
pas les respirer dans l’atelier.
painting and
Toutefois est-ce correct de
les envoyer dans l’atmosculpture.
sphère et par la suite dans
l’océan ? Même s’il y a touEn ce qui a trait à la jours un impact environnemental dans notre
peinture et à la sculp- quotidien, il est plus
ture, le goût du public significatif lorsqu’on l’associe
avec son gagne-pain. C’est
en général date d’au pourquoi je crois que c’est
hypocrite d’utiliser un objet
moins 80 ans
que nous avons fabriqué en
verre pour faire référence à
la terre, tout en ayant un discours environnemental. Certes,
toutes les activités et tous les matériaux ont leurs impacts,
mais est-ce que le monde a vraiment besoin de notre
expertise et de nos talents de verriers ?
Si ce questionnement est contemporain, il n’est pas le
mien à l’origine, car ma conscience a été éveillée par deux
étudiantes au collège Sheridan : Sally McCubbin et l’année
suivante Marcia Christie. En tant que professeur, je me suis
senti frustré face au questionnement environnemental.
Entêté et naïf, je croyais que c’était dû à une stagnation de
ma propre démarche créative. Cela s’est vite transformé en
un virus qui a envahi l’atelier des étudiants de troisième
année durant tout l’été. J’ai su que j’étais infecté, sans m’en
rendre compte, lorsque je l’ai apporté à la maison pour faire
mon travail sculptural à temps plein. Je ne sais pas si
Stéphane Dion a visité l’atelier de verre au collège Sheridan,
mais durant les dernières élections…une mutation de ce
virus a été fatale pour lui.
Ma récente série de sculptures, inspirée du paysage canadien, s’est métamorphosée pour représenter ma nouvelle
attitude et mon acceptation des changements de culture
environnementale ainsi que mon sens des responsabilités
citoyennes. Je crois qu’un des rôles des artistes est de rendre
visible les mythologies de notre époque. J’ai lutté avec mes
sculptures pour qu’elles matérialisent mes changements
d’attitudes et surtout pour agir personnellement, ne serait-ce
Kevin Lockau is a sculptor in cast glass and granite. As well, he is
resolving ideas using waste carpet and also waste milled wood.
Volunteering free time, labour and skills has helped him find a sense of
community in the Hastings Highlands in Ontario where he lives.
22
Contemporary Canadian Glass/Winter 2008
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que pour moi-même.
Toutes les formes d’art peuvent créer un discours sur ce que
nous sommes, ou plus important, sur ce que nous voulons
devenir. Cela a une grande valeur pour toute la société. En
général, les arts et la culture ont une grande importance. N’estce pas pourquoi nous avons crié à l’indignation lorsque le
Premier Ministre Stephen Harper a fait une remarque sur les
vernissages chics et élitistes avec l’argent des payeurs de taxes ?
Il donnait l’opinion de « Monsieur tout le monde » ou dans
mon entourage, « Robert le travailleur forestier » et ultimement
notre Chef d’état, pense que notre travail est inutile. De
plusieurs façons, ils ont raison.
« Monsieur tout le monde » n’accorde pas d’importance à
l’environnement, s’il ressent un effet sur son chèque de paie. «
Monsieur tout le monde » pense que l’énergie recyclée est fantastique tant qu’il ne voit pas d’éolienne près de chez lui ou de
son chalet de chasse. Que « Robert le travailleur forestier » soit
isolé, un peu hostile et définitivement méfiant des artistes «
qu’est-ce qu’ils font au juste ». Nous n’avons que nous-mêmes à
blâmer.
Les croque-morts politiques ont affirmé que les Libéraux (et
par défaut, les Verts) n’ont pas bien transmis la vague Verte
aux canadiens. Nous, en tant que personnes créatives, fabricants, artistes, designers, artisans (c’est un grand groupe) ne
sommes pas de très bons vendeurs de nous-mêmes au grand
public. Et si nous n’y accordons pas d’importance, alors c’est
peut-être parce que nous sommes élitistes.
En ce qui a trait à la peinture et à la sculpture, le goût du
public en général date d’au moins 80 ans. Et si vous pensez
que cela ne s’applique pas à votre production de verre, alors
repensez-y. En tant que créateurs, nous partageons les mêmes
possibilités et les mêmes responsabilités de ce que nous faisons.
Notre culture respecte t’elle les objets « fait à la main » ?
Apprécie-t-elle ou comprend-elle le design derrière le travail, les
matériaux utilisés ou se fait-elle du souci pour le concept ? Qui
est le porte-parole de l’importance de ce qu’on fait ? Qui est
votre porte-parole ? Est-ce une voix locale et organique (la
vôtre), une voix pré-emballée et approuvée par le gouvernement (un Conseil) ou est-ce l’iconique et mondialement reconnu Dale Chihuly que même « Robert le travailleur forestier » a
déjà vu à la télévision ? Quel visage vient à votre voisin,
lorsqu’il pense à un artiste ?
En ayant accepté tout ce qui englobe cette vie artistique,
nous en partageons tout le potentiel. Le défi est de ne pas se
définir pour votre propre ego, mais de partager vos talents afin
de renforcir la communauté dans laquelle vous vivez. Vos
talents de créateur et de résolution de problèmes pourraient
être utiles pour des questions qui dépassent votre spécialité
artistique, de même que vos intérêts généraux et vos soucis.
Notre art et notre culture nous définissent comme une nation
et modifient nos perceptions de la beauté et de la valeur d’être
un citoyen. C’est un travail qui mérite d’être accompli. Cela
vaut peut-être un centimètre de pergélisol fondu.
Kevin Lockau est sculpteur de verre coulé et de granit. Actuellement, il
conçoit des projets pour recycler des tapis et des déchets de moulins à bois.
Son bénévolat, son travail et ses compétences lui ont permis de donner un
sens et de s’intégrer à la communauté de Hastings Highlands en Ontario.
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The Fumed Vessels of Jim Norton
PAR JULIA AND YOLANDE KRUEGER
Les vases fumés ou iridescents
de Jim Norton
ubbles fill the air as the warm breeze carries them
from their wand. The beautiful, round spheres
dance in the air currents as the sun brings to life
their magical colours; greens, purples, and blues blur into
sight just as new colours start to form, and then – ‘POP’,
and it’s gone. The fleeting life of the bubble and the beauty it creates is short lived in its dance on the breeze.
However, the beauty that the bubbles’ iridescent surfaces
create do not have to be so short. This beauty can be
frozen in time and captured on the surfaces of fumed/iridescent glass.
Calgary based glass artist Jim Norton first fumed glass
during his studies at the Alberta College of Art and
Design in Calgary (fig. 1). In an old shovel filled with tin
chloride a hot bit of glass was rolled in the solution to create vapours. The soon to be fumed piece of glass would
be held above the vapours allowing them to encompass its
surface, giving it its iridescent sheen. From 1981-1987
Norton worked at Skookum Art Glass, Calgary where he
also fumed many pieces. In 1985, Norton founded the
Double-Struggle Glass Studio in Calgary with Marty
Kaufman, and in 1989 Barry Fairbairn purchased
Kaufman’s half of the business. Norton’s repertoire consists of five basic vase shapes where he applies a variety of
different surface treatments. His two most popular surface
treatments, or series, are Spots and Stripes (fig. 2) and
Spiral Pattern Vases (fig. 3). Both of these series are
fumed.
One of the most famous examples of fumed or iridescent glass is the Jack-in-the-Pulpit Vase c. 1900 by Louis
Comfort Tiffany. Tiffany admired and owned examples
of iridescent glass from the Roman times. When glass is
buried for centuries, its surface is corroded by carbonic
acid creating an iridescent surface which splits light and
creates a prismatic effect. From the 1890s onwards,
Tiffany’s glass chemists sprayed works with tin chloride in
a reducing flame to mimic the Roman wares he so
es bulles de savon, qui envahissent l’air, sont
arrachées de leur anneau par le vent chaud. De
belles sphères rondes dansent dans les courants
d’air, pendant que le soleil intensifie la beauté de leurs fantastiques couleurs vertes, mauves et bleues. Celles-ci apparaissent, en formant de nouvelles couleurs, et POUF, la
bulle a disparu. Si la vie et la beauté des bulles sont
éphémères, la surface irisée de la bulle n’est pas obligée de
l’être, puisqu’elle peut être capturée sur la surface du verre
fumé ou iridescent.
Installé à Calgary, l’artiste verrier Jim Norton fait sa première expérience pour fabriquer du verre iridescent, durant
ses études au Alberta College of Art and Design à Calgary
(fig. 1). Il place un morceau de verre en fusion dans une
pelle remplie de chlorure d’étain pour créer des vapeurs. La
pièce de verre est tenue au-dessus des vapeurs afin de bien
couvrir toute la surface et de donner au verre une propriété
irisée uniforme. De 1981 à 1987, Jim Norton travaille à
l’atelier Skookum Art Glass à Calgary, où il produit
plusieurs pièces en verre iridescent. En 1985, il fonde avec
Marty Kaufman, Double-Struggle Glass Studio à Calgary, et
en 1989 Barry Fairbairn achète la part de Barry Kaufman.
Le répertoire de Jim Norton consiste en cinq formes de
vases avec une variété de traitements de surface. Les deux
séries de verre iridescent les plus appréciées sont les vases à
pois et à rayures (fig. 2) et les vases spiralés (fig. 3).
L’exemple le plus connu de pièce en verre fumé ou iridescent est le vase Jack-in-the-Pulpit (NDLR : Arisema triphylle, petit prêcheur) c.1900 de Louis Comfort Tiffany. Il
admirait beaucoup le verre iridescent et il en possédait
plusieurs exemplaires datant de l’époque des Romains.
Lorsque le verre est enfoui pendant des siècles, sa surface
est corrodée par la formation d’acide carbonique créant une
surface irisée où la lumière se divise en deux pour produire
l’effet prismatique . Dans les années 1890, les chimistes verriers de la compagnie Tiffany vaporisaient les pièces avec
du chlorure d’étain sur une flamme réduite pour imiter les
continued on page 27
suite à la page 27
B
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Figure 2. Spots and Stripes Vases, 2008, tallest vase 47.5 cm
Figure 3. Spiral Pattern Vase, 2008.
Photos by Gary Stefko
CCG winter 2008
Contemporary Canadian Glass/ Winter 2008
Figure 1
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ARTISTS’
S TAT E M E N T S
Haliburton School of The Arts
Ian Milligan
Beginning his niche at Fleming College, Ian continues to create a
series with glass relating to the element of water. Both water and
glass carrying similar yet different physics; Ian finds a balance
between the two with the outcome of his work. To this day, Ian continues his education at Sheridan College, a place where many of his
instructors from Fleming College started.
Tia Saley
Glass is an incredible medium to work with; it moves like liquid
honey, it is malleable to all forms and yet when it solidifies, it holds
that form and glimmers with a brilliant sheen. It is the nature of
glass which has drawn me to it. Like the natural world, glass has the
ability to be simple yet bold, useful and beautiful at the same time –
this is what I strive for in my creations.
Bryce Petersen
The work I create is often made with a thought and appreciation for
process. All work is created with processes be it through the body,
the mind, or alternative methods. I am fascinated with the laborious
requisite inherent in art-making practices as a visual stimulant.
Will Ruppel
I remember in my childhood, the first time I saw hot glass being
formed into something so beautiful. I was astounded by the process
and still am. I was once again connected to glass at Fleming College
in Haliburton, where I learned with others to combine my design
ideas with the medium. I find my inspiration in the flawless lines and
shapes in the natural world. Glass seems to me to be the perfect
material in which I can express myself for its immense malleability.
Now attending Sheridan College, I have become ever more inspired
to further my skills and knowledge.
Simone Anscomb
Chaos and confusion surround us daily. Unexpectedly and suddenly,
a different world found me – the world of hot glass; where imagination, fluidity and rhythm are key. In this world, one has the ability to
create and capture a moment with glass, making it timeless, yet,
bringing it to life.
Randy Barba
Glass is hazardous and humbling – demanding fire, breath, and
respect. When I provide these things, I can create. I strive to construct perfection and symmetry in some of my work, while I also
indulge in the beautiful chaos that is creative color application and
asymmetrical form.
Lia Howe
My love of glass has been an exciting journey. After my first dip into
a glass furnace and I was hooked. Glass is a wonderfully versatile
material. Working in my home studio in Locholin, Onatraio, I now can
develop my own style and vision.
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Photo by Gary Stefko
Figure 4. Double-Struggle
Glass Studio, Calgary, 2008
Note the fuming hood to the
right of the furnace.
Norton continued from page 24
Norton suite de la page 24
admired. Tiffany patented this technique which he called
“favrile” in 1890. However, Tiffany was not the first to
attempt to create an iridescent effect. In 1873, the
Austrian firm of J. & L. Lobmeyr exhibited examples of
iridescent glass at the Vienna International Exhibition.
Another example of iridized glass from the early 1900s
and onwards is the immensely popular Carnival Glass.
Also known as “the poor man’s Tiffany” or “the working
man’s Tiffany”, Carnival glass was press moulded and
hand finished. The hot pieces were sprayed with various
metallic solutions such as iron and tin chloride. The liquid would evaporate leaving a metallic film on the surface. The solutions were made in a separate building
called “the dope house” and the solution was commonly
referred to as “dope”.
Norton begins a fumed piece in the same way that he
produces any other hand blown piece. He gathers the
glass, blows and caps, and shapes the piece. However,
according to Norton, colour choices are critical. In order
to achieve the maximum iridescence, he starts with a
dark, opaque piece of colour bar, and coats his final gath-
pièces romaines tant admirées par Louis Comfort Tiffany.
Cette technique que Louis Comfort Tiffany nomma « favrile »
fut brevetée en 1890 .Toutefois, Tiffany n’est pas le premier à
avoir essayé de recréé l’effet irisé. En 1873, la firme
autrichienne J. & L. Lobmeyr a présenté plusieurs exemples
de verre irisé à l’Exposition Internationale de Vienne. Un
autre exemple de verre irisé du début des années 1900 est le
très populaire verre Carnaval. Aussi connu comme « le verre
Tiffany des pauvres et des ouvriers », le verre Carnaval était
pressé dans des moules et fini à la main. Les pièces chaudes
étaient vaporisées de plusieurs solutions métalliques comme
les chlorures de fer et d’étain. Le liquide s’évaporait pour
laisser une mince couche métallique en surface. Ces solutions
étaient mélangées dans un bâtiment isolé, appelé « la maison
de dopage » et la solution était communément appelée
la « dope » .
Jim Norton débute toutes ses pièces iridescentes de la même
façon que les autres pièces en verre soufflé. Il cueille le verre,
le souffle, bouche la canne et donne la forme à la pièce
désirée. Toutefois, selon Jim Norton, le choix des couleurs est
très important. Pour atteindre le maximum d’irisation, il
continued on page 28
suite à la page 28
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Norton continued from page 27
er with reducing colours such as “gold-brown” or “iris-violet”. For example, once all the colours have been applied to
a Spiral Pattern Vase, Norton trails clear glass in a spiral pattern over the entire surface. The clear glass masks the
chrome-like surface of the reduced colours. This step is very
important because when the piece is fumed, the chrome-like
surface will be very reactive to the process whereas the clearglass surface will be extremely subtle.
Once the entire pattern has been applied, the piece is
blown, transferred, and completed. If the piece was not to
be fumed, it would be finished. However, in order to fume
it, the piece must be reduced and have an even heat. Norton
explains that this reheating should be done over a number of
quick flashes and that the punty should just be starting to
move, yet not so hot that the entire piece is changing shape.
If the piece is too hot when it is fumed, it will result in a
matt-grey surface, and if the piece is too cold, it will crack.
Fairbairn built the fuming hood at Double-Struggle Glass
Studio (fig. 4). It consists of a vacuum, a nylon barrel,
masonite door, air extractor with a filter and a sprayer.
Norton explains that it is crucial that one have a proper ventilation system in place when fuming because the by-product
of this process is chlorine gas. Once the piece has an even
temperature and is fully reduced, it is placed inside the nylon
barrel, and the vacuum (which is set to blow, not suck) is
turned on using a foot pedal switch. Quick vacuum powered sprays of methyl alcohol and tin chloride are dispersed
into the nylon barrel, coating the hot piece. The liquid evaporates, leaving a shiny metallic surface. The piece may be
sprayed a couple of times, but it cannot be reheated or
reshaped. After the fuming process is complete, one quick
reheat or flash is important before it is annealed.
Experimentation can happen within this process. Norton
has fumed surfaces and then gathered on top of them creating a “fish scale-like surface”. He has also applied it to
nonuniform surfaces where the fuming solution gathers in
some areas and is thin in others. The thickness of the glass
can also be a determining factor in the final results.
Over the past 30 years that Norton has been working with
glass, he has contributed a great deal to Canada’s functional
glass history. With his fumed pieces, which can be found in
numerous galleries across Canada, he has been able to capture the beauty of the short-lived iridescent bubble. His
pieces are full of colour, life, and happiness.
Norton suite de la page 27
débute avec un morceau de verre en barre foncé et opaque
qu’il couvre lors de sa dernière cueillette d’une couleur
réduite comme un brun-doré ou un violet irisé. Une fois
toutes les couleurs appliquées pour un vase Spiral, Norton
applique des couches de verre transparent en mouvements
spiralés sur toute la surface. Le verre clair masque alors la
surface brillante des couleurs réduites. Cette étape sera
importante lorsque la pièce sera fumée et la surface brillante
réagira au procédé tandis que la surface claire sera extrêmement subtile.
Une fois que tout le motif est appliqué, la pièce est soufflée,
transférée et complétée. Si elle ne doit pas être fumée, elle est
terminée. Toutefois, pour la fumer, la pièce doit être réduite
et être chauffée uniformément. Jim Norton explique que le
réchauffement doit être fait en plusieurs étapes sur le pontil
sans trop chauffer pour changer la forme. Si l’on fume une
pièce trop chaude, la surface sera d’un ton gris mat tandis
que si la pièce est trop froide, elle risque de craquer.
Barry Fairbairn a construit une hotte pour fabriquer le
verre iridescent chez Double-Struggle Glass Studio (fig. 4).
Elle consiste en un aspirateur, un baril en nylon, une porte en
masonite, un extracteur avec filtre et un vaporisateur. Jim
Norton explique qu’un bon système de ventilation est très
important pour fumer le verre car il se dégage des vapeurs de
chlore. Lorsque la pièce est à température uniforme et
entièrement réduite, elle est placée dans le baril. L’aspirateur
est ensuite activé avec une pédale pour souffler et non pour
aspirer. L’aspirateur vaporise alors un mélange d’alcool
méthylique et de chlorure d’étain dans le baril pour couvrir
la pièce encore chaude. Le liquide s’évapore laissant une surface métallique et brillante. Les pièces peuvent être vaporisées
à plusieurs reprises, mais elles ne doivent pas être réchauffées
ou remodelées. Une fois ce processus terminé, la pièce est
réchauffé rapidement avant la recuisson.
L’expérimentation peut se faire durant le procédé. Jim
Norton a fumé plusieurs surfaces et a cueilli du verre sur le
dessus pour créer une texture d’« écaille de poisson ». Aussi,
il a fumé des surfaces irrégulières où le mélange pour fumer
n’était pas répandu uniformément. L’épaisseur du verre est
un facteur déterminant pour le résultat final.
Pendant les 30 dernières années, Jim Norton a travaillé le
verre et a beaucoup contribué à l’histoire du verre fonctionnel canadien. Avec ses pièces de verre iridescent, présentes
dans plusieurs galeries à travers le Canada, il a su capter la
beauté éphémère de la bulle de savon irisée. Ses pièces sont
remplies de couleurs, de vie et de bonheur.
References cited:
David Battie and Simon Cottle, Sotheby’s Concise Encyclopedia of Glass (London: Conran Octopus, 1991), 147.
Robert J. Charleston, Masterpieces of Glass: A World History from the Corning Museum of Glass. (New York: Harry N. Abrams, Inc.
Publishers,1990), 208.
Glen and Stephen Thistlewood, Carnival Glass: the Magic and the Mystery (Atglen, PA: Schieffer Publishing, Ltd., 1998), 8-11.
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HOT STUFF
NEW FRITS AT A.B.R. IMAGERY
Red Hot Metal is introducing its new
Davide Salvadore inspired jacks. They
feature same great blade material as
all their other Black Jacks but with
the added "blood let" groove
machined into the sides of the
blades. This groove allows more wax
to be held on the blades as well as
less contact, ie less chilling, when
used on there side. The blade length,
9 1/2" is the same as their medium
Black Jack but has a narrower handle at the bow, 1.5" same as their
small Black Jack. Retail US$450.00
www.redhotmetal.net
A.B.R. Imagery has recently added some new frits to their product line! While
frit has been available in borosilicate for a long time, it has not been available
in 104 COE. Traditionally, soft glass workers have been using reduction frits.
Reduction frits are intended to be used on the surface of the art and only work
effectively up to a certain ratio of frit to glass. A.B.R. Imagery’s newest frits are
a 104 COE soft glass! This coefficient is compatible with Moretti, Vetrofond,
Messy Color, Double Helix, GTG, Lauscha, and Kugler 104. Because this new
frit is completely compatible with all of these types of soft glass, it is extremely
versatile. You can coat the entire surface of your art with this frit or add it to
the inside of your work. A.B.R. Imagery’s frits are available in eight classic colors---black, cobalt blue, ivory, green, orange, red, white, and yellow. These classic colors make it easy to compliment any color palette you are working with
and stay true to the color they come in. Each color is available in three
grades—fine, small, and large. The fine frit is similar in size to sand. The small
frit is about the size of pretzel salt. The large frit can be compared to rock salt.
Because this frit is sold in quarter pound increments, you can easily purchase
multiple colors and mix them to make your own color combinations. These
new frits allow you the opportunity to add a new spin to some of your classic
artistic designs and inspire some new techniques to add to your repertoire.
You can find get these new frits by contacting ABR Imagery at 1-866-3424764 or getting on the web at http://www.abrimagery.com
Contemporary Canadian Glass/ Winter 2008
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FROM THE GAFFER’S BENCH
By Blaise Campbell
Punty Talk.
One of the first, big issues is making sure you have the right size
punty for the right size piece. The most common problem people
have when beginning is using a standard punty for really small
pieces. It’s a good idea to have really small punties for really
small, one or two gather pieces. A lot of people just starting out
don’t have small enough punties, so it’s really good to have a little
cup punty for doing tiny things. The same goes with bigger
pieces. The standard pipe/punty combination found in most shops
is good for medium range work. Every good glass blower has a
whole range of punties and pipes to match the occasion, which not
only depends on the size but also the weight of the work being
attempted.
Ok, what’s next… gathering right. What I often do when teaching beginners is to emphasize really good gathering to make a
punty, to barely, or if possible not, touch the glass. I like to call
this the egg punty, it’s a simple version of a standard punty also
called a dome punty. You should be able to make a reasonably
good punty, just by gathering. Shaping, either at the marver or at
the bench, can help you tailor the punty to specific kinds of needs.
30
Contemporary Canadian Glass/ Winter 2008
Blaise Campbell is a self described
"itinerant journeyman glassblower and
raconteur". His glassblowing journey
began as a student at what was then
called Sheridan College School of Craft
and Design in 1987. Between then
and now he has travelled throughout
North America and abroad as an
instructor, visiting artist, or glassblower
for hire. He has been a glass studio
resident at the Harbourfront Center, a
Fellow of the Creative Glass Center of
America and an Emerging Artist in
Residence at the Pilchuck Glass School
and is the current glass blowing instructor at Sheridan Institute of Technology
and Advanced Learning .
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