Donald Robertson - Harris Media Group

Transcription

CCG Spring 1 '07
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Page 1
Spring 2007
$10 Cdn. $8.50 U.S.
CONTEMPORARY CANADIAN GLASS
VERRE CONTEMPORAIN CANADIEN
The Inquiring Mind of
Donald
Robertson
Un Esprit Curieux
Life after graduation
In the garden with Sue Rankin
Catherine Vamvakas Lay:
From pomegranates to crosses.
A publication of the Glass Art Association of Canada
Une publication de l’association du verre d’art du Canada
www.glassartcanada.ca
6/2/09
1:39 AM
Page 2
1200, rue Mill, Montréal
(Québec), H3K 2B3
www.espaceverre.qc.ca
Exposition des étudiants et des finissants,
du 31 mai au 7 septembre 2007
2007 Students and Graduates exhibition,
from May 31th to September 7th
Michel Dubreuil photo
CCG Spring 1 '07
Camion de pompiers, Pascal Leclerc
Les finissants/
the graduates :
Marylène Samson,
Tahnie Parent-Aubry,
Jinny Lévesque,
Pascal Leclerc,
Éliane Paul-Hus,
Laura Sasseville,
Myriam Legault-Monty,
Marie-Michèle Clavet,
Sophie Cloutier, devant
Vincent Chagnon.
CCG Spring 1 '07
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CONTEMPORARY CANADIAN GLASS
VERRE CONTEMPORAIN CANADIEN
Volume 6, Number 1
Spring 2007
Cover: “Memory II” Helmet cast crystal & copper.
36 x 33 x 20cm.
By Donald Robertson.
Photo by M. Dubreuil.
Above: Inside Art Mûr,
Montreal. Photo by Guy
L’Heureux. Right: Robot
Pendant. Materials: moretti
glass, Italian sterling silver
chain process: flameworked.
height: 4.5cm width: 2cm
by Izik Levy. 10% of all proceeds from the sale of Junior
and Robot Pendants through
www.rockettoro.com will be
donated to SickKids
Foundation.
4 President’s Message/Mot de la Présidence
By Julia Reimer and Tyler Rock
5 What’s Happening
7 Lucent - A Survey of Canadian
Contemporary Glass
10 Content Driven By Andria Hickey &
Jérôme Delgado
12
20
25
27
Donald Robertson By Robert Hawthorne
Sue Rankin By Cinzia Corella
Graduate’s Path By Paula Vandermay
Review: Catherine Vamvakas Lay
By Virginia Eichorn
28 Curiously Interesting
30 New Stuff
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:
Glass Art Association of Canada,
86 Beaconsfield Ave. #2, Toronto, Ontario
M6J 3J2 or to [email protected]
Visit our Website at
www.glassartcanada.ca
Web site e-mail:
[email protected]
Glasswire e-mail:
[email protected]
All other business:
[email protected]
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
Canadain 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
DIRECTORS
Julia Reimer, Tyler Rock: Co-presidents
[email protected]
Jeff Goodman: Magazine Committee
[email protected]
Rika Hawes: Website Committee, Scholarship
[email protected]
Irene Frolic: Advisory Committee
[email protected]
John Paul Robinson:
[email protected]
Lucy Roussel: Magazine, Administrative
[email protected]
Marcia DeVicque: Treasurer
[email protected]
Amanda McBride: Finance Committee
[email protected]
Natali Rodrigues
[email protected]
Caroline Ouellette: Student Liaison:
[email protected]
MEMBERSHIP AND CONFERENCE
CO-ORDINATOR
Carol Jane Campbell [email protected]
REGIONAL REPRESENTATIVES
British Columbia
Morna Tudor and Gary Bolt at
[email protected]
Alberta
Khethwen Woo at
[email protected]
Manitoba
Jayne Nixon and Kathleen Black at
[email protected]
Ontario
Jeff Goodman
[email protected]
Quebec
Caroline Ouellette
[email protected]
PUBLISHER/EDITOR
Yukio Yamada
[email protected]
DESIGN AND PRODUCTION
Harris Media Group
[email protected]
Contemporary Canadian Glass/ Spring 2007
3
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PRESIDENT’S MESSAGE MOT DE LA PRÉSIDENCE
BY JULIA REIMER & TYLER ROCK
4
The Glass Art Association of Canada is a
L’Association du verre d'art du Canada évolue
constantly evolving organization. One thing remains constant
and that is our love of glass. In the past few months, there
have been a few changes, challenges and opportunities. In
December, we had our website hacked into along with several
hundred others hosted by the same company as ours. The
hackers caused a good deal of havoc for all of us who are
represented on the artist directory. Our thanks is due to Rika
Hawes, the board member in charge of the website, as a
result of her diligence, the site was repaired and timely information is again posted and available.
With the new year, we have taken on an exciting new initiative as part of the Year of Craft 2007. We are planning to host
and facilitate a national juried glass exhibition that will occur
in conjunction with the Craft Organization Development
Association (CODA) conference that is taking place this June
at the Alberta College of Art and Design (ACAD).
The show titled, “Lucent – A Survey of Contemporary
Canadian Glass” will take place at the Illingworth Kerr
Gallery, a very large public gallery on the ACAD campus where
both CODA conference activities and a Contemporary Craft
Symposium Titled “Invisible/ Visible” will take place.
This is a unique opportunity to showcase Canadian glass,
as this is the first time the CODA conference will be held outside of the US. It will enable participating artists to expose
their work to a large audience of curators, craft advocates,
and gallery owners from the US and Canada. As well, the
works of the artists selected for the exhibition will be featured
in the summer issue of Contemporary Canadian Glass and
the magazine will be distributed to museums, libraries and
collectors. There is a group of volunteers headed by Chris
Boha, Jamie Gray and Katherine Lys who are working hard to
bring the show together.
This show has been a dream of ours since we started on
the board, and has been a dream of many other advocates of
Canadian Glass for many years. It is an excellent way to fulfill
our mandate, promoting the excellence in Canadian glass
both nationally and internationally.
constamment tout comme notre amour du verre. Au cours des
derniers mois, il y a eu de nombreux changements, des défis et
des opportunités. Ainsi, en décembre, notre site Internet a été
piraté, comme plusieurs centaines de sites hébergés chez le
même fournisseur. Les pirates ont détruit beaucoup d’informations dont la liste des artistes inscrits dans l’annuaire.
Heureusement, nous pouvons remercier Rika Hawes, membre
du conseil d’administration, et notre webmestre, pour sa diligence à rétablir toute les informations du site Internet.
Avec la nouvelle année, nous entreprenons une nouvelle
activité passionnante. Dans le cadre de l'année des métiers
d’art en 2007, nous organisons une exposition à jury d’artistes
verriers canadiens. Elle sera présentée conjointement au congrès de CODA (Craft Organization Development Association) et
le symposium des métiers d’art « Invisible / Visible » en juin
2007 au Alberta College of Arts and Design (ACAD).
L’exposition « Lucent - A Survey of Contemporary Canadian
Glass » (Lumineux – un portrait du verre d’art contemporain
canadien) se tiendra à la vaste galerie publique Illingworth Kerr
située sur le campus du ACAD.
C'est une occasion parfaite pour mettre en valeur le verre
d’art canadien puisqu’il s’agit de la première fois que le congrès de CODA se tient à l’extérieur des États-Unis. Les verriers
participants auront la chance de présenter leurs créations à un
grand nombre de conservateurs de collections, des représentants d’organismes culturels et de galeries des États-Unis et du
Canada. Les photographies des pièces retenues par le jury
seront publiées dans la revue Contemporary Canadian Glass /
Verre contemporain canadien qui sera distribuée aux membres,
aux musées, aux bibliothèques et aux collectionneurs. Un
comité de bénévole sous la direction de Chris Boha, Jamie Gray
et Katherine Lys travaille très fort pour préparer cet événement.
Cette exposition est la réalisation d’un rêve que nous partageons depuis le début de notre mandat au conseil d’administration, de même que celui de plusieurs personnes impliquées
dans le milieu du verre d’art canadien depuis plusieurs années.
Je crois qu’il s’agit d’une réalisation parfaite pour terminer
notre mandat et aussi pour favoriser l'excellence du verre d’art
canadien à l’échelle nationale et internationale.
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WHAT’S HAPPENING
Ossuary 501
Narrative/OS by Lone Thorkelsson
70cm X 22cm.
Ione Thorkelsson’s exploration in cast glass
continues with her recent exhibit ‘Ossuary
501’. The work opened jointly at Toronto Free
Gallery, November 2, and at Material Matters,
November 4, 2006 where it had been extended past the original closing date. This complex and amazing body of work will travel to
Ottawa this summer where it will be shown in
“an altered form” at the Karsh-Masson
Gallery, opening May 25 until July 8, 2007.
This is a two-level space which will fit the
dual nature of the work. Thorkelsson is an
established glass artist who creates blown
and cast glass at her rural studio west of
Winnipeg.
By Jayne Nixon/Elements Glass
Paperweights from the ROMs
Collection
More than 250 of the finest 19th and 20th
century paperweights let visitors experience
miniature worlds under glass
The Royal Ontario Museum (ROM) invites
everyone to come and enjoy the intricately
beautiful exhibition, Glass Worlds:
Paperweights from the ROMs Collection.
Considered one of the best public collections
in North America, over 250 of the finest
examples of 19th and 20th century glass
paperweights will be on display in this original ROM exhibition from April 28 to
November 25, 2007 in the Samuel European
Galleries exhibition space.
Glass Worlds is the first
major exhibition of its kind
in Canada and compliments the Architectural
Opening and Building
Dedication of the
Michael Lee-Chin Crystal
on Saturday, June 2,
2007. Visitors will have
the opportunity to enjoy
the crystalline forms of the
Lee-Chin Crystal then venture
into the Museum to experience
the colourful glass worlds found in
the ROMs paperweight collections,
many on display for the first time.
For more information contact ROM:
416-586-8000.
Glass Art Society's 2007 Conference:
Transformational Matter
Pittsburgh, Pennsylvania, June 7-9, 2007
Glass Art Society's (GAS) 37th Annual
Conference will be held in Pittsburgh,
Pennsylvania, bringing together a growing
national and international community of
glass artists and enthusiasts. During this
year’s conference, Transformational Matter,
almost 2,000 artists, glass appreciators and
organizations attending the conference will be
asked to think about transformation as an
internal and external force. Lectures and
demonstrations, technical panels and exhibitions by established and emerging artists will
highlight the vibrancy of the glass community
today.
“Pittsburgh is at a point of transformation,
from steel mills and glass factories to high
technology and artist studios, from lost and
abandoned spaces to reclamation through
creative force. Not only has the city experienced a transformation, but so have its people and institutions,” said Kathleen Mulcahy,
co-chair of the 2007 GAS Conference and
co-founder of Pittsburgh Glass Center, a
state-of-the-art glass studio that will serve as
a cornerstone for this year’s conference
demonstrations.
The Glass Art Society’s annual conference
brings together an international community of
glass enthusiasts and artists from every discipline of glass (blowing, hot casting, kiln work,
‘Mutant Brain’
Non-Lead Glass
By Virginia Wilson Toccalino, 2006
stained glass, flame working, beadmaking,
cold work, neon, etc). It is an opportunity for
members to network in various capacities:
artists connect with gallery owners and others, collectors can meet their favorite artists,
technical manufacturers and suppliers show
customers the latest innovations.
This year’s event is part of Pittsburgh’s
year-long citywide celebration of glass.
Organizations throughout the city will feature
events, performances, and exhibitions relating
to glass. For example, Phipps Conservatory
and Botanical Gardens will feature Dale
Chihuly’s “Gardens of Glass” exhibition and
the Carnegie Museum of Art will feature an
exhibition called “Venice and America: Glass
Conversations 1955-2005.” Both sites will be
venues for the pre-conference reception on
June 6.
A selection of this year’s events:
Demonstrations in flameworking, hot glass,
kilnwork, neon and engraving will be presented by artists such as Alexander Arbell, Pat
Bako, John de Wit, Jiyong Lee, Dante Marioni,
Davide Salvadore, Layla Walter and Thomas
Wendler.
Lectures will be given by artists including
Warren Carther: Innovation and
Transformation in Architecture, Public Art and
Architectural Glass; and Therman Statom:
State of the Art of African American Glass
Artists. Michael Greenman will deliver the
continued on page 6
5
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WHAT’S HAPPENING
continued from page 5
Labino Lecture, Glass Art & Science, Moving
Forward Together; and Maria Porges will give
the Strattman Lecture on critical issues,
Writing About Glass: Hot Air about Hot (and
Cold) Stuff.
Panel discussions will include Implications
of Transforming the Figure into Glass, with
Lucy Lyon, Hank Murta Adams, Judy Hill,
Clifford Rainey and Tina Oldknow; Community
Resurgence: Making Sense of Place, with
Kathleen Mulcahy, Ron Desmett, Deborah
Hosking and Randy Kovitz, among others.
The Educational Resource Center will be
held at the Omni William Penn Hotel,
Oakmont Room, and will provide a space for
attendees to gather materials and information
on glass educational facilities. Technical
Display will be held in the David L. Lawrence
Convention Center, Hall A throughout the conference and will provide attendees the opportunity to stroll through a marketplace of
glass-related goods and services.
GAS Annual Auction will showcase glass art
spanning from signature one-of-a-kind pieces
to collaborative work in a variety of price
ranges. Proceeds help support the educational efforts of the Glass Art Society. The auction
is open to the public and will be held at the
6
Omni William Penn Hotel on June 9. Preview
will be held on June 8.
The Goblet Grab, an event where attendees
can spontaneously grab and purchase drinking vessels, will be held on June 8. Portions of
this fundraiser's proceeds go to the Craft
Emergency Relief Fund (CERF).
International Student Exhibition will feature
glass art by GAS student members who are
enrolled full-time in degree-seeking programs.
The exhibition will be open to the public and
will be held at the David L. Lawrence
Convention Center, Concourse A, on June 8-9.
Two annual awards will be presented: the
Lifetime Achievement Award will go to Jiri
Harcuba, Master Engraver, Artist and Teacher;
and the Honorary Lifetime Membership Award
will be presented to to Michael Rogers, Artist,
Past GAS President, RIT Professor.
Pre-Conference Tours on June 5 will include
a tour of Frank Lloyd Wright’s Fallingwater and
Kentuck Knob; a Collector’s Tour: Art &
Architecture; a Walking Architectural Tour of
Downtown Pittsburgh; and an Industrial Glass
Tour of Pittsburgh-area glass factories.
Exhibitions, Events, and Workshops will be
held throughout Pittsburgh, offering participants an abundance of glass-related experi-
ences. The Gallery Hop will escort art-lovers
on an eclectic tour of some of Pittsburgh’s
finest galleries.
The Closing Night Party will conclude the
conference with great music, food and spirits
at the unique Sports Rock Cafe.
Student scholarships are available to fulltime student GAS members to assist in
attending the conference. Register by April 2
for the lowest conference fee; brochures with
conference details and a registration form are
now available at the GAS office, or on the
GAS website at www.glassart.org.
“People will be amazed when they come to
Pittsburgh, at the beauty and the cultural richness of the city. A perfect backdrop for a
conference that will highlight how this city has
helped to transform glass as an industry and
an art,” said Pamela Koss, GAS Executive
Director.
For more information about the 2007 GAS
Conference in Pittsburgh, Pennsylvania, contact: Glass Art Society, 3131 Western Ave.,
Ste 414, Seattle, WA 98121, Tel:
206.382.1305 Fax: 206.382.2630,
[email protected], www.glassart.org
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Lucent: A Survey of Contemporary Canadian Glass
The Glass Art Association of Canada, as part of Craft Year 2007 is
organizing a juried exhibition open to all Canadian glass artists. This
exhibition will be juried by three recognized glass professionals;
Norman Faulkner, Tina Oldknow, and Carole Pilon. This exhibition will
take place during “Invisible Visible”, the Alberta College of Art and
Design’s (ACAD) symposium on craft. In conjunction with the Craft
Organization Development Association’s (CODA), first international
conference, hosted by the Alberta Crafts Council and ACAD. CODA
serves organizations with education and professional development to
foster public appreciation and understanding of craft. CODA’s annual
conference attracts the leading professionals in the craft field.
The exhibition will take place in the Illingworth Kerr Gallery, a public gallery sustained by the Alberta College of Art and Design. This
gallery space is suitable for pedestal, wall, and installation pieces.
Artists working in all categories of glass: blown, kiln-formed, stained
glass, lamp-worked, and are encouraged to submit 3 digital images
of contemporary glass art. These images must be of work that will be
exhibited in the show. As well, images of selected work will be published in the quarterly magazine, Contemporary Canadian Glass that
will be distributed to our membership, collectors and art institutions.
As well, the exhibition will be featured the association website.
Therefore the artist should also have print ready versions of their submitted images. There is also a possibility that this will be a traveling
continued on page 8
Pour souligner l’année des métiers d’art en 2007, l’Association du
verre d’art du Canada prépare une exposition pour les verriers
canadiens. Le jury est composé de trois professionnels du milieu
verrier Norman Faulkner, Tina Oldknow et Carole Pilon. L’exposition
sera présentée dans le cadre du symposium des métiers d’art «
Invisible Visible » au Alberta College of Art and Design (ACAD). Cet
événement se jumelle au premier congrès du Craft Organization
Development Association (CODA) soutenu par le Conseil des
métiers d’art de l’Alberta (Alberta Crafts Council). CODA offre divers
services pour aider les organismes à soutenir l’éducation et le
développement professionnel des métiers d’art et à susciter l’intérêt et la compréhension des métiers d’arts par le public. Le congrès annuel du CODA réunit les plus influents professionnels des
métiers d’art.
L’exposition se tiendra à la galerie Illingworth Kerr qui est
soutenue par Alberta College of Art and Design (ACAD). L’espace de
cette galerie est aménagée pour des pièces sur des socles, les
murs et des installations. Les artistes verriers contemporains sont
invités à soumettre trois images numériques exclusivement des
pièces proposées : verre soufflé, thermoformage, vitrail, chalumeau.
Les images des pièces retenues seront publiées dans la revue
Contemporary Canadian Glass / Verre contemporain canadien qui
sera distribuée à tous nos membres, aux collectionneurs et organsuite à la page 8
7
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WHAT’S HAPPENING
continued from page 7
exhibition and be featured in The Works Art and Design Festival in
Edmonton.
Deadline for Entry: March 30, 2007
Exhibition Dates: May 30 - June 18, 2007 (Illingworth Kerr Gallery)
Artists Reception: June 11, 2007
Submission Requirements:
● 3 images - one detail shot per piece may be included
● image size - 72 dpi 600 X 800 pixels in a jpeg format
● an image description sheet that details: title, size, materials
used, date created
● all images should be have a title and number that corresponds
to the description sheet
● email submissions must have artist name and contact
information
● all pieces chosen are the same as the images submitted
● chosen work must have print or slide ready images available for
publication
● participants are responsible for packing work to be shipped in
a traveling show and for shipping work to the Illingworth Kerr
Please email submissions to: [email protected]
cuite de la page 7
ismes culturels. L’exposition sera annoncée sur notre site Internet. Les
images proposées doivent être de haute qualité pour l’impression.
Aussi, il est probable que l’exposition soit itinérante et présentée au
Festival The Works Art and Design à Edmonton.
Date limite de soumission : 30 mars, 2007.
Dates de l’exposition : 30 mai au 18 juin, 2007 (Galerie Illingworth
Kerr).
Vernissage : 11 juin, 2007.
Dossier à soumettre :
● 3 trois images – un détail par pièce est accepté;
● 3 le format de l’image - 72 dpi (600 X 800 pixels en format
jpeg);
● 3 la description des pièces : titre, dimensions, matériaux utilisés,
date de création;
● 3 les images doivent avoir un titre et un numéro correspondant
à la description des pièces;
● 3 les dossiers soumis par courriel doivent indiquer le nom du
verrier et ses coordonnées;
● 3les pièces retenues doivent être identiques aux images
soumises;
● 3 les pièces retenues devront avoir été photographiées en haute
résolution pour impression;
● 3 les participants sont responsables d’emballer correctement
leurs pièces pour une exposition itinérante et pour les faire livrer
à la galerie Illingworth Kerr.
Faire parvenir le tout à : [email protected]
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The Glass Art Association of Canada / L’Association du verre d’art du
Canada est un organisme professionnel à but non lucratif qui sert une
communauté composée de verriers répartis géographiquement. Notre
but est de souligner l’excellence du verre d’art canadien créé en atelier
avec des activités pertinentes et accessibles pour promouvoir la communication, l’éducation et l’appréciation du verre créé en atelier au
public, tant au Canada qu’à l’étranger.
Gas in Glass: The Light Sculptures of Mundy Hepburn
Lyman Allyn Art Museum, New London, Connecticut, announces a new
exhibition, Gas in Glass: The Light Sculptures of Mundy Hepburn, on
view through June 24, 2007.
Gas in Glass: The Light Sculptures of Mundy Hepburn presents largescale, whimsical blown glass sculptures filled with gas mixtures such as
xenon, argon, neon, and krypton, among others. The resulting light
sculptures are a vibrant visual cross between fantasy objects from the
artist’s mind and flowers and forms seemingly from another planet.
Hepburn activates the glass with high frequency static electricity causing the light sculptures to come “alive” with a kaleidoscope of changing
colours, depending on what gas is in which glass form.
The science behind the art that Mundy Hepburn creates, is based on
the same principle as a simple florescent light. Because so little electricity is used to light the works, only about thirty watts of power, the
CCG Spring 1 '07
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The Magic Garden
Glass, Gases and Phosphors 2006
8' x 3' x 3'
sculptures will operate for a very long time. Some examples of
Hepburn’s work have been running for as long as fifteen years.
Gas in Glass: The Light Sculptures of Mundy Hepburn reveals
the fascination of a youngster captivated by science. Hepburn
became interested in glass blowing in 1963 when he was eight
years old, after seeing Paul Geyer blow glass animals at the
Guildford Fair. He went home and melted down light bulbs on the
kitchen stove after making sure that his parents had gone
upstairs. Years of practice with glass and fire led him to the level
of expertise that we see today. Hepburn has developed his own
style of torches and glass compositions and has experimented
with various gas mixtures to achieve the dazzling colour combinations that manifest when the electricity is turned on. For the past
decade, Mundy Hepburn has worked exclusively with his own furnace design and other homemade equipment to create his unique
style of luminous glass sculpture.
Mundy Hepburn lives and works from his glass studio in Old
Saybrook, Connecticut. He has had numerous solo and group exhibitions throughout the United States. His light sculptures are
collected by private individuals as well as public institutions. And
for those curious about his name, yes, Mundy is the nephew of the
late Katharine Hepburn.
For more information, please call 860.443.2545 or visit the web
at http://lymanallyn.org.
9
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Content Driven:
At Art Mûr, Montreal, winter 2007
Review by Andria Hickey
Glass is often relegated to the realm of craft
or material arts. As a material, it is romantic,
paradoxical and complex. As both subject and
object of metaphor, its qualities make it a
potent medium for contemporary art production. With complicated chemistry and obvious
fragility, it is also technically difficult and aesthetically challenging.
In this unique exhibition, curator and artist,
John Paul Robinson, had grouped together
five artists whose works demonstrate the ability of the medium to negotiate important dialogues that span such contemporary social
issues as identity and perception, the environment, utopia and fantasy. He showcased
selected works from artists; Tyler Rock, Jeffrey
Sarmiento, Michèle LaPointe, Orest Tataryn,
and Robinson’s own work, Content Driven
demonstrated not only the skill of the craft of
working in glass but, also the relationship
between explorations of medium and discourses surrounding the contemporary art
object.
Neon artist and member of the guerrilla art
group Skunkworks/Outlaw Neon, Orest Tataryn
investigated light and shadow as a sculptural
and painterly medium attempting to reduce
material environments to their simplest form.
Michèle LaPoint is best known for her monumental installations and her investigations of
integrated site specificity and the “imaginary
archaeological process which excavates
dreams and time”. John Paul Robinson’s
works created and mix symbols to develop
connections between physical and the metaphysical, the body and the subconscious.
Jeffrey Sarmiento incorporated images and
text with glass to communicate new visual
narratives of identity and ethnicity that revolve
around the artist’s exploration of language
and translation. A senior glass blower, Tyler
Rock’s work explored the notion of the vessel
and its conceptual relationship with luminosity and the sculptural form.
Robinson, one of the first artists in Canada
to build his own glass studio, has noted how
technological developments in the production
of glassworks, in addition to training programs, have allowed artists to master the
techniques needed to work in glass. This has
subsequently opened the possibilities for contemporary artists to work in glass and traditional glass artists to react and contribute to
emerging trajectories in contemporary art
practices. With works in the exhibition incorporating glass as lens, sculptural form, intervention and metaphor, this content-driven
shift is reflected in the abilities of the artists
to use glass as both device and strategy while
combining the mythology of the material with
its unique attributes in forms that communicate symbolic meaning in unexpected ways.
Content Driven
Guy L’Heureux photography
At Art Mûr, Montreal, winter 2007
Par Jérôme Delgado
Le titre le dit : voici une exposition de
contenu. Réducteur comme énoncé? Pas
dans un cas comme celui-ci, où il s’agit de
combattre des préjugés. L’art du verre,
déprécié encore par beaucoup, n’est plus
juste un défi technique, dit John Paul
Robinson, artiste et commissaire de l’expo. Le
verre est un matériau comme un autre, avec
ses particularités plastiques, oui, mais aussi
avec une charge poétique.
John Paul Robinson ne signe pas avec
Content Driven un manifeste. « C’est un
survol de ce qui se fait actuellement », dit,
simplement, le professeur d’Espace Verre. Il
ne nie pas, cependant, la portée
démonstrative de sa sélection. « C’est
l’intention de l’expo. Beaucoup de gens ne
voient pas encore les œuvres en verre comme
de l’art. Pourtant, elles peuvent avoir un
10
contenu fort. Le verre n’est pas un matériau
fixe. »? »J’ai choisi, poursuit-il, des artistes
qui travaillent le verre avec l’idée d’avoir du
contenu. Le travail est de cet ordre, et non
pas matériel. »
Jeffrey Sarmiento, par exemple, se sert du
verre pour créer des pièces où l’effet 3D est
central. Pour l’artiste californien d’origine
philippine, la profondeur de ses sculptures
(des blocs, souvent), et l’ajout de textes lui
permettent d’évoquer sa vie, sa condition
d’être humain aux multiples cultures.
« Le verre, dit John Paul Robinson, est un
beau matériau. C’est le problème, c’est le défi
: essayer de faire oublier la beauté des
objets, tout en rendant le concept agréable à
lire. Moi, je me bats pour que les gens
cessent de penser au matériau. »
Non thématique, Content Driven réunit cinq
artistes et une dizaine d’œuvres, dont
plusieurs ne sont pas faites de que verre. «
C’est du mix media », dit le commissaire, de
manière à rappeler que l’enjeu des artistes
verriers n’est plus d’apprendre à manipuler
cette matière translucide et fragile.
Outre Sarmiento et de Robinson lui-même,
l’expo présente trois autres artistes. Tylor Rock
propose des « structures environnantes », où
la matière réfléchissante fonctionne comme
un miroir. Héritier de la sculpture minimaliste,
Orest Tataryn travaille la lumière, faisant dire
à Robinson que son contenu, « vous ne le
voyez pas ». Michel Lapointe, le moins verrier
du groupe, ses œuvres les plus « mix media
», a une démarche autour du ici et
maintenant.
Entre art et artisanat? John Paul Robinson
espère qu’après cette expo les gens
cesseront de se poser la question. Les
verriers sont des artistes à part entière, à
prendre, comme disait Malraux, comme celui
qui crée les formes, l’artisan n’étant que celui
qui les reproduit.
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Left: John Paul Robinson,
Cascade, 2006
Above: Jeffrey Sarmiento.
Sketchbook III, 2007
Right: Tyler Rock,
Opening, 2006
Bottom left: Orest
Tataryn, A child house
alight, 2006
Below: Michèle Laponte,
Mobilier urbain, 2004
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DONALD ROBERTSON
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By Robert Hawthorne
THE SPIRIT OF THE RENAISSANCE MAN LIVES ON IN
ARTIST DONALD ROBERTSON. INVENTOR, CREATOR,
RESEARCHER AND PHILOSOPHER, HIS CURIOSITY AND
LOVE OF DISCOVERY FILL HIS WORK, HIS THOUGHTS
AND HIS SKETCH BOOKS WITH A VARIETY OF DETAIL,
INFORMATION AND COMPLEXITIES.
continued on page 14
N AN INQUIRING MIND/ UN ESPRIT CURIEUX
L’ÂME DE L’HOMME DE LA RENAISSANCE VIT TOUJOURS
AU CŒUR DE L’ARTISTE DONALD ROBERTSON.
INVENTEUR, CRÉATEUR, CHERCHEUR ET PHILOSOPHE,
SA CURIOSITÉ ET SON AMOUR DE LA DÉCOUVERTE ALIMENTENT SON TRAVAIL, SES PENSÉES ET SON CARNET
DE CROQUIS PLEIN DE DÉTAILS, D’INFORMATIONS ET DE
COMPLEXITÉS.
Donald Robertson est né en 1952 à Montréal au Québec. Dès son
jeune âge, il s’exprime par son esprit créatif dans son atelier-laboratoire en faisant des découvertes et en construisant des objets pour ses
amis et pour lui-même. La création de jouets et d’objets fantaisistes
ainsi que le dessin vont de pair avec ses recherches juvéniles en
mécanique, en électricité et avec ses expériences chimiques dont
quelques-unes ont explosé, empesté ou enflammé brillamment ! Cette
passion pour la recherche, la découverte et la fabrication d’objets s’est
transformée en une poursuite constante qui est à la source de son
inspiration et de sa créativité en verre d’art.
Robertson travail dans le domaine du verre depuis 1982. Ses créations sculpturales en verre sont exposées dans des galeries publiques et
privées au Canada, aux États-Unis, en Italie, en France, en Allemagne
et à Singapour.
Il débute ses études en art en 1972 et obtient, en 1974, son diplôme
en arts plastiques avec une majeure en dessin et en sculpture au programme Mosaic du collège Dawson à Montréal.
suite à la page 14
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ROBERTSON continued from page 13
Donald Robertson was born in 1952 in Montreal,
Quebec. From a young age, his creative spirit expressed itself
in his workshops while making “discoveries” and by building
things for himself and his friends. Creating toys and fanciful
objects or continuously drawing went hand in hand with his
youthful research into mechanical, electrical and chemical
projects, many of which exploded, stank or flamed brilliantly!
This passion for research and discovery as well as the act of
making things, turned into a life-long pursuit and is the source
of his continual inspiration and creativity in glass.
nical core of his expression and research to
this day. With an ever increasing passion to
learn and understand glass, he continues to extensively research these techniques in his studio in Quebec and study
both here and abroad with many of the international casting
masters from the Czech Republic, France, England and Japan.
He has devoted his personal creative glasswork to the mastery
of these techniques.
His unique glass sculptures explore the links between the
material and the spiritual world through metaphor. Time and
the perceptions of time, whether actual or historical, are
expressed through process, subject and the transformation of
... confirmed his belief that glass could be a material of exceptional expression.
Robertson has been working very intensely in the glass field
since 1982. His sculptural glass works are exhibited in public
and private galleries in Canada and the United States, as well
as in Italy, France, Germany and Singapore.
Studying art since 1972, and after graduating in 1974 with a
diploma of Creative Arts, majoring in drawing and sculpture
from Dawson College’s Mosaic Program in Montreal,
Robertson spent ten years working in a variety of artistic
fields while developing his personal work. Creating sets and
decors for the Centaur Theatre and the McGill Operatic
Society, being studio assistant to sculptor Andrew Dutkewych
for the Corridart project in Montreal, as mold making technician at Dawson College and doing custom design and fabrication of metal architectural elements, his experiences were
broad and diversified and reflected his many interests. But it
was during a study trip to San Miguel de Allende, Mexico in
1984, where he was studying bronze casting and lithography
techniques, that Donald was first exposed to the potential of
glass as an art form. Having begun to experiment with glass
two years previously, he created while in Mexico, a mold for
the local glass factory artisans to blow into. The results, so
unexpected, confirmed his belief that glass could be a material
of exceptional expression.
Returning to Canada, he studied at Sheridan College
School of Crafts and Design in the glass department with
Daniel Crichton and Peter Keogh, graduating in 1986.
During his studies he received the Indusmin Award for outstanding academic achievement and also won a scholarship to
the world-renowned Pichuck Glass School to attend a glass
sculpture workshop with Bert Van Loo from the Netherlands.
At Sheridan he explored and researched the historically rich
and very technically challenging techniques of lost wax glass
casting and “pate de verre” and this has remained at the tech14
materials. Inspired by ancient art from all civilizations, particularly Classical Greece, Robertson’s works are created using
one of the most ancient of glass techniques and by choosing
subjects rich in historical reference. Combined with definitive
art references is a deep appreciation for the mastery and harmony of craftsmanship and ritual. His work is imbued with a
definitive craft sensibility where each piece is carefully and
thoughtfully created after months of work and this only after
years of experimentation and research.
The “Warrior Series” begun in 1988, reflects a contemporary vision of history and underscores the challenges of our
ideas of time from both the historical and the material perspective. As Daniel Crichton wrote in James Strecker’ book
Sheridan: the Cutting Edge of Crafts:
“In Donald’s Warrior Series he’s combined the archaic form of the helmet with the fragility and translucency of glass in order to articulate the
paradox that characterizes human nature - the misdirection of the gifts of
knowledge and technology toward organized violence and war. Though
helmets are made to protect, the one cast for “ The Charge” is as fragile
as an egg. This contradiction suggests that the use of science and material technology to manufacture things that are defensive or aggressive is an
illusion and doomed to failure. In the end Donald’s work successfully
references our historical hubris and our struggle with rationality through
his synthetic and alchemical glass sculptures”.
History is also referenced in another body of work that
Robertson began while studying at Sheridan College and
which he continues to this day, but this history is geological
and natural, not cultural. In works such as “Large Carapace
III “ and “ Vortex “ the spirals and fossil inspired forms suggest artifacts that have emerged or have been rediscovered
after millennia. Their shapes, symbols of time and transformation, are created through a series of complex wax and
..
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ROBERTSON cuite de la page 13
Donald travaille dix ans dans divers
domaines artistiques, tout en développant son travail
personnel. Il crée des décors et des accessoires pour le
théâtre Centaur et la Société d’Opéra de l’Université
McGill. Il assiste le sculpteur Andrew Dutkewych pour
le projet Corridart de Montréal. Il est technicien de
moulage au collège Dawson, il conçoit et fabrique des
éléments architecturaux en métal sur mesure. Ses expériences sont multiples, diversifiées et reflètent l’étendue de
ses intérêts.
de toutes les civilisations mais plus
particulièrement par l’antiquité grecque,
ses œuvres sont créées en utilisant la plus ancienne des techniques du verre et font références à des
sujets riches en signification historique. Une appréciation
profonde pour la maîtrise et l'harmonie de l'art et du rituel accompagne ses références artistiques. Son travail est
imbibé d’une intense sensibilité pour l’harmonie et la
maîtrise de son métier. Chaque pièce est soigneusement
pensée, conçue et créée sur une période de plusieurs
mois de travail mais qui implique des années d'expérimentation et de recherche.
...l’exploration des techniques du verre est toujours au cœur de sa démarche artistique.
C’est en 1984, lors d’un voyage d’études à San Miguel
de Allende au Mexique, où il va étudier les techniques
du coulage en bronze et de la lithographie qu’il est mis
en contact avec le potentiel du verre comme forme d'art.
Ayant déjà expérimenté avec le verre deux ans auparavant, il fabrique un moule à souffler le verre pour les
artisans verriers d’une usine au Mexique. Les résultats
inattendus l’ont convaincu des possibilités du verre
comme matériau d'expression artistique.
À son retour au Canada, il étudie avec Daniel
Crichton et Peter Keogh au département de verre du
Sheridan College School of Crafts, où il obtient son
diplôme en 1986. Durant ses études, il reçoit le Prix
Indusmin pour une réussite scolaire exceptionnelle et
gagne une bourse d’études à Pilchuck, l’école du verre
de réputation internationale, pour participer à un atelier
avec Bert Van Loo des Pays-Bas. Lors de ses études au
collège Sheridan, Donald explore et cherche la richesse
historique et la complexité technique du moulage, de la
pâte de verre et de la cire perdue. Pendant qu’il poursuit
des recherches intensives dans son atelier au Québec,
l’exploration des techniques du verre est toujours au
cœur de sa démarche artistique. Aussi, il se perfectionne
continuellement en étudiant avec des maîtres sculpteurs
et mouleurs au Canada, en République Tchèque, en
France, en Angleterre et au Japon. Une grande partie de
son travail de création consiste à apprendre à maîtriser
les techniques du verre.
Ses sculptures exceptionnelles en verre explorent, par
la métaphore, les liens entre les mondes matériel et spirituel. Le temps et les perceptions du temps, actuel et historique, s’expriment à travers les procédés, les sujets et
la transformation des matières. Inspiré par l’art antique
La série « Warrior » (Guerriers), débutée en 1988,
démontre une vision contemporaine de l’histoire et
soulève un questionnement de nos idées historiques et
matérielles sur le temps. À ce propos, James Strecker cite
Daniel Crichton dans son livre Sheridan : the Cutting
Edge of Crafts.
« Dans la série Warrior de Donald, se combine la forme
archaïque du casque avec la fragilité et la transparence du verre
afin de démontrer le paradoxe de la nature humaine – la mauvaise utilisation des dons du savoir et du développement technologique au service de la violence et de la guerre organisée.
Même si les casques sont faits pour protéger, la pièce « The
Charge » (La charge) en verre moulé, est aussi fragile qu’une
coquille d’œuf. Cette contradiction suggère que la science et la technologie matérielle, servant à fabriquer des objets défensifs ou agressifs, est illusoire et condamnée à l’échec. Enfin, les sculptures en
verre de Donald font allusion de manière synthétique et alchimique
à nos prétentions historiques démesurées et à nos débats avec la
rationalité ».
L’histoire est aussi une référence importante dans une
autre série d’œuvres de Donald qu’il a commencé
lorsqu’il était étudiant au collège Sheridan et qu’il continu encore aujourd’hui. Cette fois-ci, la référence historique n’est pas culturelle mais plutôt géologique et
naturelle. Dans ses pièces « Large Carapace III » et «
Vortex », les formes inspirées par des spirales et des fossiles suggèrent des artefacts qui émergent ou qui sont
redécouverts après des millénaires. Leurs formes, symboles du temps et de la transformation, sont le résultat
d’une suite de longs processus complexes à l’aide de
plusieurs techniques sculpturales de cire, de moulage et
d’assemblage. C’est réellement le temps et les processus
suite à la page 18
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M. Dubreuil Photography
DONALD ROBERTSON
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1
3
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1. Large Carapace lll 2004,
lost wax cast crystal,
41 x 58 x 28 cm.
2. Frieze II 2006 Lost wax
cast crystal and copper,
35.5 x 34 x 18cm.
3. Spiral Form ll 2004,
lost wax cast crystal,
23 x 28 x 27 cm.
4. Coral 2004, view 1,
edition of 125 Daum Design,
Designed by D. Robertson
and produced by Daum
France.
5. Vortex II 2005
Lost wax cast crystal,
36.5 x 33 x 33cm.
2
4
5
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ROBERTSON continued from page 14
ROBERTSON cuite de la page 15
mold assembly techniques and it is truly time and the
process of transformation which help guide the final works.
This relationship between geological time and actual material process time is always at a precarious balance within each
piece. The often extremely long and complicated techniques
required to cast these complex forms can leave a lot of
works unrealized. This challenge is part of the long research
that has been at the heart of all his glass works since his
beginning.
In 2000, thanks to a recommendation from Scott Jacobsen
of the Leo Kaplan Gallery in New York, Robertson was
approached by the prestigious French glass company
DAUM, which specializes in “pate de verre” glass works, to
design a piece for the company.
The piece CORAL was produced in 2004 as an edition of
125 examples and launched in Daum’s artist Collection
12+1. The work was one of the most successful of the collection and Robertson is currently working on his third
design for the company.
In conjunction with his very active studio, design work
and consulting work, Robertson has been a highly respected
and appreciated member of the teaching faculty of the
Montreal glass school “Espace Verre”. Since 1988, when he
became involved in the early beginnings of the newly established school, his commitment, dedication and knowledge
have made him an invaluable asset to the activities offered at
Espace Verre and in particular of the three-year college glass
program. As well as building many pieces of equipment for
the school, he is an influential teacher whose specialties
touch upon the “pate de verre”, lost wax casting and cold
glass working studios. As well, he also teaches technical
classes, creative development classes and equipment building
workshops, helping forge an innovative curriculum from
which many students, professionals and artists in other fields
have benefited.
His continued fascination and inquiring mind touch upon
a wide range of subjects and express his need to understand
how things are made, how they work, who discovered them,
including what are the challenges and how to solve them.
This query continues to inspire his work in an enduring
cycle of discovery, exploration, mastery and realization. In
addition, his dedication to the knowledge and learning of his
students has also become, over these many years, a major
part of his overall vision and he is one of the cornerstones of
the continuing development of studio glass in Quebec.
Achieving the balance between these two very important
realities is personally very challenging and enriching. These
undertakings coupled with his searching and sharing nature,
in both his teaching and his creative work, will always
remain at the heart of who he is, both as an individual, a
creator and as a contemporary renaissance man.
de transformations qui vont aider et guider les résultats
finaux. Cette relation entre le temps géologique et le
temps des processus matériels est toujours un équilibre
précaire à maintenir dans chacune de ses pièces.
Souvent, les techniques extrêmement longues et compliquées pour mouler des formes complexes peuvent
laisser plusieurs pièces inachevées. Depuis le début, ce
défi fait partie d’une longue recherche au cœur de toutes
ses sculptures de verre.
En 2000, grâce à la recommandation de Scott
Jacobsen de la galerie Leo Kaplan à New York, Donald
a été demandé pour concevoir une pièce pour Daum, la
prestigieuse cristallerie française spécialisée en pâte de
verre. La pièce « CORAL » a été produite en 2004 dans
une série de 125 exemplaires pour la collection artistique de Daum 12+1. Cette pièce fut l’une des favorites
de la collection et Donald travaille actuellement sur une
troisième création pour cette cristallerie.
En plus de son travail d’atelier, de création et de consultation, Donald est un membre très respecté et apprécié de l’équipe d’enseignants de l’école montréalaise du
verre Espace VERRE. Depuis 1988, il s’est impliqué
pour établir l’école, par un engagement, une détermination et des connaissances qui font de lui une ressource
inestimable aux activités offertes à Espace VERRE et en
particulier au programme collégiale de trois ans en techniques du verre. Donald a contribué à la construction
d’équipements d’ateliers pour l'école et est un
enseignant influent des techniques de verre à froid, thermoformage, pâte de verre, entretien d’un atelier et technologie du verre. Plusieurs étudiants, professionnels et
artistes d'autres domaines ont bénéficié de son esprit
innovateur et de son implication à la croissance du programme d'études.
Sa fascination et sa curiosité sur un éventail de sujets
lui permettent de comprendre comment les objets sont
fabriqués, comment ils fonctionnent, qui les a découvert
mais aussi quels sont les défis et comment les résoudre.
Cette quête continue d’inspirer sans cesse le travail de
Donald en découvertes, en explorations, en maîtrises et
en réalisations. Après toutes ces années, son dévouement pour la connaissance et pour l’apprentissage de ses
étudiants font partie intégrante d’une vision globale et le
désigne comme l’un des piliers majeurs du développement continu du verre d’art au Québec. Atteindre un
équilibre entre ces deux réalités importantes est à la fois
stimulant et enrichissant. Enfin, ses réalisations, teintées
par sa nature curieuse et généreuse dans son travail
d’enseignement et de création, seront toujours au cœur
de celui qui est à la fois un individu, un créateur et un
homme contemporain de la Renaissance.
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BY CINZIA CORELLA
a
masterful glass sculptor, Sue Rankin is best-known for creating art that is inspired by
gardens. Her work, which has mostly been realistic – beautifully sculpted glass in the
shape of various types of flowers and foliage, is not reflected in her new series entitled
about the garden. Found in the new work are two very significant changes that diverge
from her previous pieces. The first is the artist’s play with scale and the second is the
artist’s choice to abstract her sculptures, that is, to move away from a more realistic
representation. What these two deviations suggest is that the garden the artist is analyzing does not refer to the tamed and minutely planned gardens of landscape designers and family backyards, but rather to a larger more unrestrained type of garden
that references nature in general. about the garden is not simply a physical reflection of
the natural world, rather, what Rankin has succeeded in creating is a constant dialogue between herself, her art, and its viewers.
The decision to play with the scale of her sculptures is a notable one, not only
because her works have usually been smaller in size, but also because the larger size
of the pieces makes them more confrontational - they demand that observers engage
with them in a more physical and direct way. Because the sculptures take up a larger
amount of space, they seem to force viewers to think about them, provoking us into
questioning our position and size not only in relation to the pieces, but also in relation
to the natural world that the sculptor makes reference to. According to Rankin,
“when I think of gardens, I think of something larger than life. Something that not
only surrounds you but can also dwarf you.” Indeed, the feeling of being dwarfed
comes alive when one is presented with these sentry-like pieces that dangerously sway
from side to side.
Yet, while the works are large, they are not intimidating. Their quiet beauty, found
in their sparse elegance, is one that has been created not to overpower nature, but to
be at one with it, a part of its cycle. This aspect of being in harmony with nature is
evident through the materials that Susan Rankin has used. The metal stands on
which the glass sits will change, rust, and develop a new patina with the varying
weather patterns. The glass also, seems to go along with the seasonal changes taking
place around it: in winter, the colours dull having acquired a snowy skin; in fall, the
vivid colours that the sculptor has chosen, mimic the changing of the leaves as
demonstrated by Leaf Poles and Coloured Columns (2006); in spring and summer, the
pieces become bold, aided by the sunshine that diffuses itself through them. They,
like the seasons themselves, seem to be the harbingers of life and renewal.
By using natural materials and allowing the elements to alter them, Rankin has
essentially created work that becomes an inherent part of the environment and its natural cycles. This can be seen in the use of circles and circular shapes. According to
one art critic:
The decisions to use these primary shapes stems from the formalism of human ideas tending
20
Photo by Jay Olauson
about the garden: an
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invitation to dialogue
Left: Susan Rankin with assistant Blaise
Campbell in her Whitedog Studio in
Apsley Ontario. Above: Leaf Pole, Three
Greens, 2006. 17 solid worked glass elements, steel, pvc pipe, 86 " or 7 feet 2
inches tall.
21
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SUE RANKIN continued from page 20
22
Photo by Susan Rankin
Above: Flower Vase, Smokey Grey over
Cobalt with White Lilies, 2006
Blown and solid worked glass, sandblasted
surface. 40 x 40 x 35 cm
Below: Coloured Columns, Salmon, Gold
and Pink Stack, 2006
Salmon 27 solid worked glass elements,
steel, pvc pipe, 87.5 " tall
Gold 26 solid worked glass elements, steel,
pvc pipe, 85" tall
Pink 34 solid worked glass elements, steel,
pvc pipe, 87.5" tall.
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towards synthesis and abstractions, it conveys the
same degree of atemporality, or eternity, of insuperable expanse that can be conveyed by the vastness
and grandeur of a desolate landscape. As all people
in all ages exist in the same natural land,
breathe the same air, and use the same water, in
the same way they have used the circle to express
concepts of perfection, eternity… 1
Furthermore, the circles highlight the fact
that the artist has strayed from a realistic
representation of the environment, allowing
the work to be placed in a more nebulous
area of thought, the abstraction of her work
permitting for a more flexible communication to be created between observer and
sculpture. Due to the fact that any direct
and easily deciphered meaning or purpose
that the series may have, has been made
intangible, an observer is freer to make links
and pose questions about the pieces, giving
the work a second life and inserting it into a
new cycle – that of constant dialogue.
According to art historian Sandra Flood:
…we find that objects spring from a rather shadowy, passive half-life to a rich, multi-layered, active
engagement. This has repercussions for the viewer,
the owner, and the maker. As viewers, we can come
to dialogue with the object and, with a more critical
eye, can ask what is the public message and what is
the personal. What is the impact of the object? 2
Photo by Susan Rankin
By choosing a less realistic mode of depiction, the artist has caused her work not only
to ask its maker’s questions and explore its
maker’s thoughts, but also to explore those
of a larger audience. It is this constant communication that lends to Rankin’s about the
garden, an immortality.
By allowing her work to exist in this space
of exchanges, Rankin has not only explored
new ways to express herself and broaden her
artistic style, but also to explore larger
themes. Her oeuvre is an ever-changing collection of pieces, ephemeral because of its
ability to echo the changes in nature, and to
constantly transform and fit itself into various dialogues. In a subtle way, about the garden questions the permanence of life, while
at the same time having a place within it.
David Williamson,
new Editor for GIIN.
For the last three years, Williamson studied glass at
Sheridan College. During that time his focus shifted from
strictly blown vessels, to sculptural sand and graphite cast
"bricks" which now make up his main body of work.
Upon graduation, he was accepted as one of three
teaching assistants at Sheridan College for the 2006-2007
school year.
This summer, he will be living in Toronto so he can work
for a year before attending undergraduate and graduate
studies in Glass at the University of Sunderland in England.
To see his work, please visit: www.glass33.com and click on
"David Williamson."
The glass community owes a debt of thanks to out-going
editor, Dolores Bender-Graves.
OCC Scholarships:
The Ontario Crafts Council offers approximately $15,000 through an
annual program of awards, scholarships and supply grants to Student
and Craft Professional members. All craft disciplines are considered. The
deadline to apply is mid-April, annually, and awards are presented at the
Annual General Meeting each June. 2007. Deadline for Submission:
Monday April 16, 2007
GAS notes:
Warren Carther of Winnipeg, will
speak on the topic of ‘Innovation
+ Transformation in Architecture,
Public Art and Architectural Glass’
at the GAS Conference in
Pittsburgh in June 2007. Also, his
work has been included in the
recent publication Colours of
Architecture by Andrew Moor. To
view images of work click on
www.cartherstudio.com
1. Mario Codognato, Richard Long (Milan: Electa, 1994): 17.
2. Sandra Flood, “The Lives of Objects”, Craft Perception and Practice:
a Canadian Discourse, Paula Gustafson, ed. (Vancouver: Ronsdale
Press, 2002) 103.
An image of “Ingress” by Tyler Rock
has been accepted for the New
Glass Review #28. Only 100 images
were selected from the 2445
submitted images. “Ingress” is the
same piece that won the people's
choice award at the members
exhibit at the GAAC conference
in 2006.
The New Glass Review is
published by The Corning Museum
of Glass. It is an annual survey of
glass in contemporary art,
architecture, craft, and design
created in the previous year by
emerging and established artists.
The works are chosen by a changing
jury of curators, artists, designers,
art dealers, and critics.
23
CCG Spring 1 '07
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Page 24
Jean-Pierre Baquère, glass
maker, takes the Grand Prix
de la Création of Paris 2006
Jean-Pierre Baquère has won the “Grand Prix
de la Création” of Paris with his latest exhibition “The 52 Bowls.” This annual award presented by the Paris Council, recognizes his
talent and his particular skills. He is a talented glassmaker, one of the latest in France
producing glass artistically with his “flamework” process. With his father, Baquère
started to blow the glass when he was seven
years old . So, it is said that molten liquid
glass runs in his blood. Since then, he has
explored all the technical possibilities and
has developed an exceptional knack to
mould this changeable material. Now, at 50
years old, he continues to create artistic
pieces like original scent bottles or those
surprising bowls for his last exhibition.
Look deep into nature and you will
understand everything better.
Albert Einstein
Turning concepts into exciting visuals at raptor-like speeds.
Our team of strategic designers and editors work with you providing
the most cost-efficient services for your print communications.
E-mail: [email protected]
wwwHarrisMediaGroup.ca
24
For this event, Baquère has realised a collection of 52 bowls to symbolise the life
rhythm and different seasons, to express the
light of the weather… or the colours of the
mood. He uses varied colours, made with a
wide range of metallic oxides which are specially treated. He has also used broken glass
to ornament some of the bowls and to
obtain granulous surfaces. Warmer or cold
tints, iridescent shades or direct tones are
combined with tiny or big pieces, in a spirit
of contrast: intimate bowls for the hollow of
the hand or tall and elegant cups. However,
there is a common quality for the whole
pieces, conferring them an unity: the shapes
are simple and delicate, conceived to be
light and graceful.
CCG Spring 1 '07
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G R A D UAT E ’ S PAT H S
I ZI K L EVY
B y P a u l a Va n d e r m e y
The sometimes-confusing
dilemma of graduating from a
crafts and design program
can be an overwhelming
agenda for most students.
Izik Levy graduated from
Sheridan College in 2006. He
specializes in flameworking, hot
casting, and design fabrication.
Levy’s approach to what he was
going to do in order to sustain a
viable source of income, started well before
graduation. At the beginning of his second year
of studies, he researched the available options.
Levy knew his long-term goals and knew what he
wanted to create as a craftsperson. Setting up a
studio was his main goal.
While at Sheridan, Levy set up a basic flameworking studio in his parent’s garage. He built his
own annealer, had a few tools and was fresh with
ideas and eager to go. Levy had merchandise in
a consignment shop, had two Yorkville shows, and
had participated in various art shows around
Toronto. Another strategy Levy employed, was to
source out business advisors who were non-glass
related. He also relied heavily on the support
from his family. Above all, he kept positive that he
would be a success. His theory is to to make your
strongest skill level marketable and make that
your primary source of income.
To help supplement his income as an artist, he
tapped in on his prior educational experience
which was video work. He specialized in digital
television and film production. His web site was
very imporatant. Prior to graduating, his web site
was up and running and he had started to generate press coverage online. As Levy’s online clientele was being established, he continued marketing with the consignment boutiques. His one
complaint being, “it takes a while to get paid.” For
this reason, he prefers to sell wholesale.
Levy’s ambitions were large. He approaches
jewellery design like the fashion industry. “You
work wholesale, have a product line, catalogue,
and embark on professional public relations
online” he said. This strategy has enabled him to
continually follow through with his business contacts. He has been featured in Glow magazine,
sweetspot.ca, and Verve Girl Magazine. The online
exposure made his work available to online bloggers, which ultimately created a fan fall. He ships
to all States, and is now targeting Europe. At the
end of the school year, he decided to divide his
professional web site. One would cover his portfolio and the other an online sales store. Called
Rocetoro, he promotes his custom one-of-a-kind
glass pendants and designer art jeweler. He
keeps costs down by doing the design, photography, and setting up customer service. This is a
one-person operation. Together with his on-line
store, he is still pushing ahead with his glass
sculptural castings. He is represented in galleries
and is promoted directly through the art shows he
attends. At the same time, his own personal studio is a stepping ground for private collectors. He
plans to expand his work online, hoping to
increase sales and marketing to the U.S.
Levy’s accomplishments happened within 6
months of leaving school. With a huge amount of
commitment, direction, multi tasking and hard
work, he continues to make art and has achieved
exactly what he expected. To view Levy’s work go
to: www.iziklevy.com
Cross-Canada 2006 Graduate Show
at Galerie Elena Lee.
Students of Sheridan College, Alberta College of Art & Design and
Espace Verrewill have their work on display at Galerie Elena Lee in
Montreal. The show runs from March 6 - 27, 2007
Artists showing are: Carolyne Brouillard, Marcia Christie, Kasia
Czarnota, Eulalie Gagné, Tara Gilchrist, David Goranitis, Nancy
Landreville, Vivian Lee, Einav Mekori, Julien Mongeau, Brad Turner,
Mariel Waddell, David Williamson.
25
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CCG Spring 1 '07
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Transformation: from Pomegranates to Crosses
Material Matters Contemporary Canadian Glass Art Gallery
Toronto, Ontario
Review By Virginia Eichhorn. Photography by Kevin Hedley
Upper left: Cross,
Byzantine with bronze.
Recycled blown glass,
cut, fused, cast bronze
H. 33cm W. 24 cm
D. 3cm.
Far left: Totem
Dragonfly with bronze.
Recycled blown glass,
cut, fused, cast bronze
H. 36cm W. 28cm
D. 3.5cm.
Top left: Pomegranate
clusters with bronze.
Blown glass, hot
assembled, cast
bronze
H. 12cm W. 43cm
D. 38cm.
Left: Eight
Pomegranates with
bronze. Blown glass,
hot assembled, cast
bronze
H. 16cm W. 28cm
D. 23cm.
Catherine Vamvakas Lay reaches back to the dawn of Christianity in
her luminous and exquisite exhibition “Tranformation: from
Pomegranates to Crosses.” Within Chrisitian iconography, especially
in the early centuries, pomegranates were used to represent Christ
and the Church. The profuse number of seeds, encased within the
skin, symbolized the many individuals within the “one” church.
Vamvakas Lay uses these ripe, rich berry shapes, in varied configurations, creating a meditative and suggestive experience of theological thought. As is the case of many of the Christian symbols,
pomegranates had their place previously within both Pagan mythology and Judaic theology. Vamvakas Lay’s ruby glass sculptures cast
rosy shadows and glow throughout the gallery space, warming it
and creating an atmosphere almost akin to that of a church or
chapel. It was peaceful and lush.
Her work, rather than calling attention to disparity between meanings or philosophies, instead is about harmony and evolution. She
reconciles the disparity of these modes of thought and instead celebrates what is in common. Her work references Byzantine, Celtic,
Roman, Judaic and Christian symbolism in configuration, sometimes
incorporating metals such as bronze within her compositions.
Her use of shadows is deliberate and effective. As time passes,
thoughts, meanings and ways of understanding are changed.
Previous ideas become transformed leaving behind their “shadows”
or “shades” of what they once were. Yet without a shadow, as Plato
proved with his story of the cave dwellers, one cannot fully understand or articulate what we see and therefore what we know. Within
her work Vamvakas Lay evocatively and gracefully allows the past to
illumine the present, creating not shadows of doubt but richness of
vision.
Her exhibition at Material Matters this past winter and spring was
well received.
27
CCG Spring 1 '07
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Curiously Interesting: The Corning Museum of Glass
Trains A Scholarly Eye on All Things Odd and Glass
Corning, NY Beginning April 1st,
The Corning Museum of Glass digs into its vast
collections to showcase more than a hundred
wonderfully odd and mysterious objects fashioned
of glass, dating from antiquity to the present day.
Ancient amulets to ward away evil; trick drinking glasses; an optical model of the human eye;
and variously tinted, tortoiseshell rimmed lens
worn by Victorian tourists to frame suitably artistic views of nature - these are among the odd
objects in Curiosities of Glassmaking, on view
through October 21, 2007.
Curiosities of Glassmaking invites visitors to consider how glass has been used to mimic nature; its
mystical and scientific uses over the centuries; and
its use by industry to produce an array of everyday items, some quite peculiar and others
inspired.
The exhibition title refers to a popular 19th-century manual, Curiosities of Glass Making (1849), published in London by the well-known glassmaker
Apsley Pellatt. The impulse to collect and display
curiosities is both timeless and universal, of
course, and American art institutions such as the
Corning Museum have evolved in part from the
European tradition of the cabinet of curiosities,
which juxtaposes odd, intriguing, and unusual
objects, often including archaeological artifacts,
geological specimens, and exotic trophy animals.
In that spirit, the exhibition features apotropaic
glass, or glass used to deflect evil, in the form of
ancient and modern eye beads, Japanese magatama amulets (curved beads often found inhumed
in mounded graves as offering to deities), and
witch balls. Popular in 18th-and 19th-century
English and American homes, witch balls were
often filled with bits of string and other things
meant to confuse and repel witches.
Other sections of the exhibition will look at
unusual vessels made throughout history, glass
that imitates other materials like semi-precious
stones and textiles, and glass that naturally occurs
in nature. Examples of glass made in nature will
include fulgurites (glass made when lightning
strikes sand) and tektites (glass from meteorite
impacts), as well as unusual, man-made glass specimens such as uranium glass (radioactive) and
neodymium glass (which changes color in different lighting). A sample of trinitite, a glass made
during the test explosion of the atomic bomb in
White Sands, NM, in 1945, will also be on display.
Glass and the natural world have long inspired
artists. A section of the exhibition will showcase
works in glass by Kiki Smith (Tail, 1997), Michael
Rogers (Murmur of the Bees, 2006) and other
artists whose work reflects nature.
Unusual household and medical glass products
will show the innovative uses of glass over time,
as well as the attempts of industry to use glass in
place of other materials. For instance, the exhibition features a Silver Streak electric iron, made by
Above: Optical Model of the Eye. Probably France, 19th century. Optical glass; enamel, brass. H: 17.6 cm,
W: 7.6 cm, D: 10.3 cm. 2004.3.40
Right: Passion Bottle. Attributed to Alexandre Soudart (French, about 1850–1914). France, Sars-Poteries,
second half of the 19th century. 77.3.25, gift of Countess J. de Vogüé
28
CCG Spring 1 '07
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Page 29
Corning Glass Works in 1946, of molded borosilicate glass, when metal was in short supply.
Visitors will also see glass bullets and 18th-century
glass fire grenades.
Medical products will
include glass eyes, an
antique woman's glass urinal, and ancient bleeding
glasses.
Other highlights include
glass funeral items and reliquaries and a shining glass
slipper made by the founding director of Steuben
Glass, Frederick Carder, for
a film production of
Cinderella that was never
realized. An illustrated
copy of a 1903 patent
granted by the U.S. Patent
and Trademark Office for J.
Karwowski's Method of
Preserving the Dead in
solid blocks of glass also
will be on display.
In around 1908, the New York Sun reported on
the unusual uses to which glass was being put by
inventors of the day. An article entitled "Odd
Uses of Glass" highlights a number of curiosities,
from the fabrication of glass pavements to the
fashioning of dresses of glass cloths. The news
report ends: "In all the world, there is but one collection of glass flowers, and only two men who
can make them, it is said. The collection belongs
to Harvard University..."
All the better, then, that the famous, life-like
flameworked flower and plant models made for
Harvard University at the turn of the 19th century
will be the subject of the Museum's major summer
exhibition, "Botanical Wonders: The Story of the
Harvard Glass Flowers" (May 18 - November 25,
2007). Curiosities of Glassmaking is on view concurrently.
Curiosities of Glassmaking is organized by Tina
Oldknow, the Museum's curator of modern glass.
Visit: www.cmog.org
$65 CAN
Attention: Treasurer, Glass Art Association of Canada 9840 Porlier Pass Drive Galiano Island, B.C. V0N 1P0
29
CCG Spring 1 '07
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NEW STUFF
New Boromax™ Project Kit
Focusing on Crayon Colors
ONE BELT FITS ALL!
ONE BELT FITS ALL! A wet polishing belt with
the cut of 120 grit, in a
single step polishes to a cork finish. Saves so
much time from changing
belts between the various polishing stages.
Doesnít it sound too good
to be true? "Magic" Polishing Belts now
available - Exclusively at
ColourFusion!
colourfusion
1456 Wallace Road Unit 3
Oakville Ontario L6L 2Y2
Toll Free 1-877-321-6949
Phone (905) 847-2847
Fax (905) 847-6588
www.colourfusion.com
System 96® Releases
8 New Rod Colors
43 colors and counting! Uroboros proudly
announces Eight New Colors in Rods!
Continually expanding the System 96®
palette, these new products are fully compatible with all System 96® products including
Sheets, Frit, Noodles, Stringer and Casting
Billets.
The newest Colors are: Orange Semi-Opal,
Firelight Opal, Sunflower Opal, Plum Opal,
Urobium Pink, Light Green & Pale Gray, Sea
Green. RB
Coming mid-February: Straw, Pink
Champagne, Cloud Opal and Steel Blue
UROBOROS® GLASS STUDIOS, Inc.
2139 N. Kerby Avenue
Portland, Oregon 97227, USA
503-284-4900
Fax: 503-284-7584
[email protected]
30
The Crayon Fish Project Kit is the second kit
released in a new series for artists to learn
flameworking and color control skills at
their own pace.
The Crayon Fish Project Kit is for the
intermediate level lampworker and teaches
how to use Boromax™ Crayon colors without encasing them in clear. The kit contains
the color and clear glass to make about
nine cute and colorful fish.
Inside the kit are three 6 inch x 9mm
clear rods, twelve 6 inch x 5 mm clear rods
and one 4 inch x 7mm color rods of the
following colors: 104 Red, 106 Indian Red,
204 Orange, 301 Acid Yellow, 302 Rasta
Gold, 304 Yellow, 403 Chartreuse, 406
Olive Green, 804 Chocolate, 9749 Raven,
and 9995 Sno White. The kit also includes
a detailed guide with step-by-step color
photos to guide lampworkers through the
project.
Glass Alchemy, Ltd. manufactures
Boromax™ color borosilicate glass rod and
frit. Owner Susan Webb and co-owner Henry
Grimmett have revolutionized the color
palette for borosilicate lampworking. The
Glass Alchemy staff has expanded the
vocabulary and capabilities of glass artists
through continuous research and passionate exchange of information.
Contact:
Lani Schreibstein
Director of Art and Public Relations
Glass Alchemy, Ltd.
503-460-0545
[email protected]
www.glassalchemyarts.com
New Dichroic Designs at CBS
RAINBOW 2 “PLUS”
In the world of Dichroic Glass, the Rainbow 2
is the most difficult to produce. This is true
for all manufacturers of Dichroic Glass.
Peeling of the coating during the fusing, lampworking and/or blowing process can occasionally take place. Though CBS has the
most durable coatings on the market, we too,
receive minor complaints from our customers.
Because of this very important artist feedback, Coatings by Sandberg, Inc. has “redesigned” its Rainbow 2 coating. CBS is
proud to announce the newly designed
“RAINBOW 2 PLUS.” This new Rainbow is
more durable and can handle the abuse of
high heat. Prior to hotworking, the RB2 PLUS
looks darker than normal but then brightens
when fired. On black glass there is no evident change in color. The new Rainbow 2
Plus is available immediately, on any glass
type. It is priced as a Premium Pattern so is
subject to the $15 Dollar pattern charge.
Note: Rainbow 2 is still available for those
artists that enjoy its unique crazing affects.
For more info contact; Coatings By Sandberg,
Inc. Dana S. Baldwin
E-mail: [email protected]
Tel: (714) 538-0888
www.cbs-dichroic.com
CCG Spring 1 '07
6/2/09
1:43 AM
Page 31

Donald Robertson - Harris Media Group

Transcription

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