CCG spring 1 2009 - Harris Media Group

Transcription

CCG spring 1 2009
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CONTEMPORARY CANADIAN GLASS
VERRE CONTEMPORAIN CANADIEN
Spring 2009
$10
w w w. g l a s s a r t c a n a d a . c a
What defines Canadian Glass Art?
Qu'est-ce que le verre d'art canadien ?
A publication of the Glass Art Association of Canada
Une publication de l’association du verre d’art du Canada
The art of Katherine Gray,
Ben Goodman and Resident Artists at
Mississauga Living Arts Centre,
thoughts by Kevin Lockau
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CONTEMPORARY CANADIAN GLASS
VERRE CONTEMPORAIN CANADIEN
24
Volume 7, Number 1
Spring 2008
4 President’s Message/Mot de la Président
Cover: Acqua Alta.
Katherine Gray, 2008. Glass,
water 12 x 12 x 24 inches.
Photo by Victor Bracke.
Top: Watcher #1. Ben
Goodman, found wood,
fused and cast glass. 20” H
x 13” W. x 5”. Right:
Paperweight by Paul
Stankard from
the Robert M. Minkoff
Foundation collection.
6 What’s Happening/Events
13 What Defines Canadian Glass
By Brad Copping
By Kevin Lockau
16 Art Showcase: Resident Artists at
Mississauga’s Living Arts Centre
20 Canadian Glass By Katherine Gray
24 Merit and Meaning - Another Tilt
By Ben Goodman
28 New Products
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 pub-
lication 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
Sally McCubbin
[email protected]
Jamie Gray
[email protected]
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
[email protected]
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]
REGIONAL REPRESENTATIVES
7
Atlantic Region
Lynne Bowland
[email protected]
British Columbia
Jill Allan
[email protected]
Leah Duperreault
[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/Spring 2009
3
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PRESIDENT’S MESSAGE MOT DU PRÉSIDENT
BY BRAD COPPING
4
The cold weather seems to be passing but the busy work of win-
La saison froide semble passée mais nos occupations de l’hiver se
ter continues. I hope you can take a break from that work and consider
the contents of this issue, and then find another moment to send us a
response as Ben Goodman has done regarding our last issue. We need to
have this conversation.
We had some success with our first Handful of Glass sale earlier this winter and as a result will be organizing similar events across the country for
later this year. I would like to express my thanks to all of you who donated
your work and your time to the event, it is greatly appreciated as we continue to try and move the organization forward. I hope everyone has considered applying to the GAAC sponsored Project Grants and that you sent in an
application for the Cheongju International Craft Biennale being held in
Korea in October of this year. While we are working on a way to have some
representation for GAAC at the event, the best way to have Canadian glass
represented is those individual applications. There is still time to make an
application to the Biennale through the general call for entry.
Application forms are available online until June at the official website:
www.cheongjubiennale.or.kr or www.okcj.org
I would also like to take this opportunity to introduce our new representatives for British Columbia, Jill Allan ([email protected]) and Leah
Duperreault ([email protected]).
Jill Allan is an independent glass artist, working in Vancouver. She graduated from the Alberta College of Art and Design, with a BFA in 1999. She
has won numerous awards for her glass objects and jewellery. Jill’s work
has been collected by the Corning Glass Museum as well as the Canadian
Craft Museum and can be seen across the country in various galleries. You
can also find it on-line at: www.jillallan.com
Leah Duperreault began working with flame worked glass in 2002,
developing her skills through short courses, assisting others and through
owning and operating her own studio. Leah’s studio is in Invermere, BC
where she works in the hot shop and on the torch. Her work can be found
on line at: www.glassduck.ca
For many of us in the east, the closing of Starfish Glassworks has diminished our connection to what has been happening west
of the Rockies. We all seem to suffer from our
north/south blinders and I hope that Leah and Jill can
help us remove them. Please get in touch with them to
let us know what’s happening.
Finally, I would like to pass on to you an artist statement that moved me to tears when I tried to read it out
loud to a friend. It was written by Katherine Gray ,one of
the contributors to this issue, for her recent exhibition at
the Acuna-Hansen Gallery in Los Angeles titled,“it’s a
very deadly weapon to know what you are doing”.
www.ahgallery.com For more check out the LA Times
video review link from her artist page.
Because skill is a trap, because the promise has
faded, because no one told me about that trap,
because our society is increasingly about the simulated
experience, because creating is destroying, because we
haven’t learned from our mistakes, because it is all
coming to an end, because I am out sync, because
objects are our history. And because glass is devastatingly beautiful.
poursuivent. J’espère que vous pourrez prendre une pause de votre travail
pour découvrir le contenu de ce numéro de la revue, et aussi de prendre un
moment pour nous faire part de votre réponse, comme Ben Goodman, au
sujet du dernier numéro. Nous avons besoin de communiquer.
Nous avons eu beaucoup de succès avec la vente « Les mains pleines de
verre / Handful of Glass Sale » au début de l’hiver. D’ailleurs, nous prévoyons
répéter cet évènement plusieurs fois à travers le pays, vers la fin de l’année.
J’aimerais remercier tous ceux qui ont donné une œuvre ou donner de leur
temps pour cet événement. C’est un geste très apprécié qui fait avancer notre
association. J’espère que vous allez vous inscrire aux bourses de projets commanditées par le GAAC. J’espère aussi que vous êtes inscrit à la Biennale
internationale des métiers d’art de Cheongju en Corée, en octobre 2009.
Même si nous travaillons très fort pour que le GAAC soit représenté, la
meilleure façon d’assurer une représentation du verre d’art canadien, c’est par
les verriers qui s’inscriront. Vous trouverez plus d’information :
www.cheongjubiennale.or.kr or www.okcj.org
J’aimerais vous présenter les nouveaux représentants du GAAC pour la
Colombie-Britannique : Jill Allan ([email protected]) et Leah Duperreault
([email protected]).
Jill Allan est une artiste verrier indépendante qui travaille à Vancouver. Elle
a obtenu un diplôme B.F.A du Alberta College of Art and Design, en 1999. Elle
a gagné plusieurs prix pour ses objets et ses bijoux en verre. Les œuvres de
Jill font parties des collections du Corning Museum of Glass, du Canadian
Craft Museum et peuvent être admirées dans plusieurs galeries à travers le
pays. Aussi, vous êtes invités à visiter son site Internet : www.jillalan.com
Leah Duperreault a commencé à travailler la technique du chalumeau en
2002, en développant ses habiletés avec des cours de courtes durées, en
assistant plusieurs artistes verriers et dans son propre atelier. L’atelier de Leah
se trouve à Invermere en Colombie-Britannique, d’où elle travaille en verre à
chaud et à la torche. Vous pouvez visiter son site Internet : www.glassduck.ca
Pour ceux qui habitent dans l’est du pays, la fermeture de l’atelier Starfish
Glassworks a réduit nos liens avec ce qui se passe à l’ouest des Rocheuses. Il
semble que nous souffrons du syndrome des œillères
nord/sud. J’espère que Leah et Jill nous aideront à les
enlever. Contactez-les pour en savoir plus.
Finalement, j’aimerais partager avec vous une démarche
artistique qui m’a ému presqu’aux larmes lorsque j’ai
essayé de la lire à l’un de mes amis. C’est celle écrite par
Katherine Gray, l’une des collaboratrices à ce numéro, pour
sa dernière exposition It’s a very deadly weapon to know
what you are doing (C’est une arme dangereuse de savoir
ce que l’on fait) à la galerie Acuna-Hansen
www.ahgallery.com de Los Angeles. Pour plus d’information,
consultez la critique de l’exposition du LA Times sur vidéo
sur la page de l’artiste.
« Parce que l’habileté est un piège, parce que la
promesse s’est brisée, parce que personne ne m’a parlé
du piège, parce que la société est de plus en plus une
expérience simulée, parce que créer c’est détruire, parce
que nous n’avons pas appris de nos erreurs, parce que
tout tire à sa fin, parce que je suis désynchronisée, parce
que les objets sont notre histoire. Et parce que le verre est
terriblement beau ».
Contemporary Canadian Glass/ Spring 2009
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WHAT’S HAPPENING & REVIEWS
Canadian Glass show
Alex Anagnostou
travail récent/recent work
In this exhibition Alex Anagnostou is
exploring metaphors for an endangered world. In Seeding Clouds several groupings of glass bubbles are
suspended from the ceiling. They
refer to the controversial practice of
inducing clouds to rain prematurely.
Each blown glass bubble encapsulates a complex structure of very fine
lamp-worked glass threads. This original technique, resulting from ongoing
experimentation during her studies,
allows the artist subtle details and
expressive contrasts that enrich her
sculptural language.
In another group of works
Anagnostou combines her super-fine
glass threads with their polar opposite: sandcast glass masses. This
series, titled Inner Spaces, is inspired
by topographical images of the earth
taken by satellite. In the ritualistic
process of sandcasting, successive
layers of hot glass are poured into
hand-formed sand moulds, stabilized
with a carbon resist.
www.galerieelenalee.com
1460 rue Sherbrooke Ouest, Suite A,
Montréal, Québec H3G 1K4
514.844.6009
[email protected]
6
Kevin Lockau - Holding Breath
March 21 - April 10, 2009
Lockau continues his exploration of
the Canadian landscape through his
mixed media, glass based sculptures and a new series of sculptural
paintings.
13 Murray St., Ottawa,
613.241.2767
[email protected]
www.lapaigallery.com
The Nation’s Capital
Tenuous Connection Jill Allan
Lafreniere and Pai Gallery
April 16th - May 6. Following a
month-long residency at ACAD, the
Vancouver-based Allan presents a
new series of sculptural glass
forms. The exhibition coincides with
BC Scene, the National Arts
Center's multi-disciplinary arts festival that will take place in OttawaGatineau from April 21 to May 3,
2009.
Vessels, Jill Allan,
blown glass.
Photo by Kevin Hedley
Last year Laura Donefer had a very
successful show at the Hodgell
Gallery in Sarasota Florida, and on
Febuary 5th, 2009 the Canadian
Glass Show opened to rave reviews.
Brian O'Connell, owner of the
Hodgell Gallery, asked Laura to recommend Canadian artists for his
2009 season show.
Participating were Susan
Edgerley, Donald Robertson,
Benjamin Kikkert, Cathy Strowkasky,
Tanya Lyons, Jeff Holmwood, David
Thai, Mariel Waddell, Sue Rankin,
Brad Copping, and Laura Donefer.
Laura, Susan and Benjamin gave
a slide lecture to the Art Alliance of
Sarasota, and also at the Ringling
School of Art and Design.
The show was very successful,
and Brian O'Connell would like to
continue the tradition of a
Canadian Show next year.
Flotsam Series: Five Fleets. 2009.
Blown and Sculpted Glass
5 Pieces, Largest Piece
20" L x 13" D. Benjamin Kikkert
Seeding Clouds Alex Anagnostou, 2009. Blown and hot-worked glass, aluminum 36” x 5.5” x 20” + 32” x 11” x 32”
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THE WESTERN FRONT
BC Glass Art Association bi-annual SFU EXhibiton in conjunction with Simon Fraser University
August 2009 www.bcgaa.org
Naoko Takenouchi at Circle Craft Co-operative Gallery on Granville Island
Vancouver www.circlecraft.net Migratory Journeys April 3-May 5 2009
Naoko Takenouchi at the Crafthouse Gallery on Granville Island Vancouver
www.cabc.net Celestial Navigation
August 6-Sept 6 2009
Pineland Native Flowers Bouquet with Masks,
Green Banded Cube Series, Paul Stankard,
2007. Dimensions: 9.8 X 6.4 cm. Stankard is
the world’s leading paperweight artist. He
has always possessed a profound connection
to nature. Natural elements like bees and
flowers intermingle with ‘root people’ - tiny
human forms resembling plant roots. He
attains the highest level currently possible in
blending hot glass with sculptural language.
Wayne Harjula at New-Small and
Sterling Studio Glass on
Granville Island Vancovuer
www.hotstudioglass.com
Living Lights March 5th- April 2nd
Hot Stuff at the
Canadian Clay and Glass Gallery
Flame Working Demonstration & BREATHING
LIFE: A Discussion of Italian Glass.
Paul Stankard is internationally recognized as
the world's most important paperweight maker
creating delicate renditions of flora and fauna
encased within clear crystal and glass. He holds
two honourary doctorates of Fine Arts and the
"Lifetime of Innovation Achievement in Art" from
the Art Alliance of Contemporary Art.
His work is also featured in our current exhibit
ANNIE E. BROWN: IN MEMORY. He will be at the
Canadian Clay & Glass Gallery, in person on
April 3rd at 7pm, to wow their lucky audience
with his magical display of techniques.
After the demonstration stay to BREATHE LIFE
INTO ITALIAN GLASS FIGURINES: A discussion
with Glenn Thede, Consultant and Lecturer, who
has been an avid 20th century glass collector for
25 years. He will be bringing glass items, primarily Italian, designed and made by the top
names of the mid-20th century (Venini, Seguso,
Barovier and others). Mr. Thede will be focusing
on the creation of natural forms, demonstrating
how the Italians breathed life into their figural
sculptures giving you a close up appreciation of
how the Italian masters proved their artistic sensitivity and captured the essence of an animal in
their work.
Canadian Clay and Glass Gallery. 25 Caroline
street N., Waterloo Ontario N2L 2Y5 Tel: 519746-1882 www.canadianclayandglass.ca
continued on page 8
The Earth Sea and Air Naoko Takenouchi
Lou Lynn Retro-active
Selected work completed between 1990 and 2008
The Reach Gallery Museum Abbottsford.
Abbottsford, BC March 19 to May 24, 2009
Pink medusa with pink tentacles
Wayne Harjula
Grand Forks Art Gallery. Grand Forks, BC
June 12 to Aug.15, 2009
Yukon Arts Centre. Whitehorse, Yukon
Sept. 10 to Oct. 25, 2009
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Corning Museum of Glass Presents
Radiant Survey of Studio Glass
Voices of Contemporary Glass:
The Heineman Collection.
A new survey of one of the largest and finest collections of contemporary studio glass in the
United States will open at The Corning Museum of
Glass on May 16, 2009. Part of a year-long series
of contemporary glass exhibitions and programming at the Museum, Voices of Contemporary
Glass: The Heineman Collection, will present 240
works in glass by 87 international artists.
Voices of Contemporary Glass will showcase the
collection donated to the Museum in 2006 by Ben
W. Heineman, Sr. and his wife, Natalie G.
Heineman. Mr. Heineman collected with a discerning eye, thoughtfully assembling a grouping of
works that represents the full breadth of a defining
period in contemporary glassmaking. He was
intrigued by the extraordinary potential of the
material to take on a broad range of expressions
and forms. Although interested in all kinds of art in
glass, he was drawn primarily to works that
explored abstraction and color.
The exhibition at the Corning Museum features
video interviews with a selection of artists represented in the Heineman Collection, exploring their
Far left: Red/Amber Sliced
Descending Form, Harvey K.
Littleton (American, b. 1922), US,
Spruce Pine, North Carolina,
1984. Hot-worked and cased
glass, cut, assembled. (A) 37.2
cm, W. 29.2 cm, D. 11.4 cm. (B)
H. 19 cm, W. 13.9 cm, D. 7.6 cm.
Middle: Navajo Blanket Cylinder
(Serape Style 1865), Dale Chihuly
(American, b. 1941). US,
Providence, Rhode Island, 1975.
Blown glass, assembled thread
drawing picked up while hot. H. 26
cm, Diam. 11.6 cm. Left: Eve,
Lino Tagliapietra (Italian, b.
1934). Italy, Murano, 1998. Blown
filigrana glass, cut. H. 71.9 cm, W.
23.1 cm, D. 19.7 cm.
individual ideas, or "voices," in glass. This multitude of voices and perspectives celebrates the infinite possibilities of glass as a medium for contemporary vessels and sculpture, and documents the
ongoing process of discovery and innovation that
has shaped the story of the Studio Glass movement.
"The Heineman Collection reflects the remarkable achievements made in studio glass over the
past 35 years," said David Whitehouse, the
Corning Museum's executive director. "The collection is distinguished by its in-depth focus on a key
group of individuals whose work has been influential to artists working in glass worldwide. The exhibition explores the appeal of glass and its essence
as a creative medium for artists of all backgrounds."
Daily live demonstrations by Corning Museum
glassmakers will help visitors understand many of
the techniques behind the works on view in Voices
of Contemporary Glass, and guests will be able to
make their own glass in hands-on experiences.
The Heineman Collection nearly completely documents the chronology of the American Studio
Glass movement, with objects dating from 1969 to
2005, and it presents the work of several artists
over the course of their careers. Voices of
Contemporary Glass, which runs through January
3, 2010, will be accompanied by a fully illustrated
catalog of the collection by Tina Oldknow. As part
of a year-long celebration of contemporary glass
at the Museum, it is complemented by the exhibitions, Favorites from the Contemporary Glass
Collection (March 1, 2009 - January 3, 2010),
and Masters of Studio Glass: Richard Craig
Meitner (April 4 - October 18, 2009). Visit:
www.cmog.org
Upcoming at Bullseye Gallery
Steve Klein: Contemplation
Strikingly graphic and delicately balanced kilnformed and blown glass sculpture by the
California-based, internationally exhibited artist.
Opens Tuesday, March 31, 2009. Closes Saturday,
May 9, 2009
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Emerging Perspectives: The RIT Project
The results of a January artist exchange at
the Bullseye Glass Company studios, involving recent Rochester Institute of Technology
glass program graduates: Rebecca Arday,
Shane Caryl, Drew Smith and Cassandra
Straubing. Opens Tuesday, May 5, 2009.
Closes Saturday, July 11, 2009
Filling the Void: BECon Presenters
Glass sculpture by international presenters,
artists and educators involved in Bullseye
Glass Company's biennial BECon 2009 conference. Featuring work by Howard Ben Tre,
Heike Brachlow, Chick Butcher, Daniel
Clayman, Jacqueline Cooley, Melanie Hunter,
Marshall Hyde, Alicia Lomme, Clifford Rainey,
Jeffrey Sarmiento, Ted Sawyer, Richard
Whiteley, and Ann Wolff. Opens Tuesday, May
5, 2009. Closes Saturday, July 11, 2009
COLLECT 2009
Bullseye Gallery will present Jane Bruce, Cobi
Cockburn, Jessica Loughlin, Jeffrey Sarmiento
and April Surgent at COLLECT, Europe's premiere fair for contemporary objects, held this
year at London's newly re-opened Saatchi
Gallery. Opens Thursday, May 14, 2009.
Closes Sunday, May 17, 2009 at the Saatchi
Gallery, London, England
SOFA WEST: Santa Fe
Join Bullseye Gallery and artists Heike
Brachlow, Silvia Levenson, and Jessica
Loughlin at the inaugural edition of the
Sculpture Objects and Functional Art Fair in
Santa Fe, New Mexico. Opens Thursday, June
11, 2009. Closes Sunday, June 14, 2009 at
the Santa Fe Convention Center, Santa Fe,
New Mexico
Jessica Loughlin
Serene and abstract landscape-inspired
glass works by one of Australia's most frequently lauded young artists. Opens Tuesday,
June 30, 2009. Closes Saturday, August 8,
2009 at the Bullseye Gallery
Kirstie Rea
Memory and place blend together in new
sculpture by Australian artist Kirstie Rea.
Opens Tuesday, August 4, 2009. Closes
Saturday, September 12, 2009 at Bullseye
Gallery
Contact: 300 NW 13th Avenue, Portland,
OR 97209 USA 503-227-0222 phone
[email protected]
www.bullseyegallery.com
Artwork wanted
John Waterman is looking for new artists to
add to his online gallery, www.cowartandmore.com . All media will be considered, but
it must have an agricultural theme. Please
email a brief statement and one image of
continued on page 11
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your work (or a web address) to info@ cowartandmore.com
New craft book
Museum of Contemporary Craft, an internationally
recognized center for contemporary craft founded
in 1937, announces the release of Unpacking the
Collection: Selections from the Museum of
Contemporary Craft. The book is the first publication dedicated to the Museum's collection, and
provides a significant contribution to the documentation of the American Craft Movement.
Featuring selected works from the Museum's
collection of nearly 1,000 objects, Unpacking
the Collection documents how changes in artistic
practice have affected craft from the 1930s to the
present. By way of artwork, essays, texts, archival
photos and an exhibition chronology, the book
charts the evolution of the Museum as a community resource, drawing connections between the
Museum's collection and its exhibition history. The
book is the first to showcase many early and transitional works by craft artists who have become
leaders in the field, including Betty Feves, Jack
Lenor Larsen, Sam Maloof, John Mason and Peter
Voulkos. The publication also concentrates on
artists who played a central role in creating the
Pacific Northwest's distinct craft identity, including
Ray Grimm, Leroy Setziol, Ken Shores and Romona
Solberg.
Tel: 503.546.2654 or
[email protected]
mailto:[email protected]
Photo by K. Ouellette
3rd Glass festival of Luxembourg 2009
28-29-30 August 2009. The highlight of this year is
the invitation of students from different glass academies, who will present their work and expertise.
Recycled Glass Project: Glass blowing – from empty
bottle to Design. Expositions of glassart at site:
Atelier d’art du Verre - Asselborn, Moulin
d’Asselborn - Asselborn, Barteshaus - Hoffelt
There will also be workshops for children and
adults and demonstrations in glass blowing, casting, fusing, slumping, painting, engraving, cutting,
grinding, polishing, glass beads, mosaics, pate de
verre, stained glass and restoring of stained glass.
Get the participation form (deadline by April 30,
2009) Contact: Emeringer Robert or Baiza Zaiga.
Ph: 00352 / 997458 Email: [email protected]
www.art-glass-verre.com
Atelier d’Art du verre. Maison 180
L- 9940 Asselborn, Luxembourg
Museum of Glass
Outdoor Installation Opening. Martin Blank's Fluent
Steps captures the essence of water. Comprising
individual islands of glass sculpture created in the
Museum's Hot Shop, this monumental sculpture
will span the entire length of the 210-foot-long
reflecting pool and rise from water level to fifteen
feet in height. "Water can be placid, sublime and
in an instant a tremendous surge of raw power. This
installation is a visual exploration capturing the
chase between the macro and micro qualities of
water using glass as a conduit to translate my
thoughts." - Martin Blank
Info Line 253-284-4750/ 1-866-4MUSEUM
Museum of Glass, 1801 Dock Street Tacoma, WA
98402
GAS 39th Annual Conference
June 11-13, 2009. Corning, New York. Laura
Donefer will be coordinating a major Glass Fashion
Show once again, the first one since the New
Orleans conference, which was a “jaw dropper.”
Many great lectures and demonstrations and the
town of Corning is a “glass campus.” They have the
world’s most comprehensive glass museum, the
library of record on glass and glassmaking and the
renowned Steuben Glass factory.
www.glassart.org
Exposition des finissants d’Espace VERRE
Orientation 4
Avec Clement Bergeron, Edith Deschenes, Jamie Goodyear,
Melanie Lambert
11 Juillet - 8 Août 2009
Galerie Art Mûr, Montréal, Québec, Canada
www.espaceverre.qc.ca <http://www.espaceverre.qc.ca
Espace VERRE’s Graduates exhibition
Orientation 4
Undertow, Jamie Goodyear
With Clement Bergeron, Edith Deschenes, Jamie Goodyear,
Melanie Lambert
July 11th - August 8th, 2009
Art Mur Gallery, Montreal, Quebec, Canada
www.espaceverre.qc.ca <http://www.espaceverre.qc.ca
Fluent Steps, 2009. Martin Blank (American,
born 1962) Hot-sculpted glass, steel. Opens
April 18, 2009. Main Plaza Reflecting Pool,
Museum of Glass.
MONTREAL - VILLE DE
VERRE EN 2010
À l’initiative de la Société des directeurs de
musées montréalais (SDMM), le verre sera
le dénominateur commun d’une vingtaine de
musées à Montréal en 2010. Le verre sera
traité sous toutes ses formes : architecturale, artistique, écologique, historique,
scientifique, etc. Des expositions, des
démonstrations, des films, des conférences,
des animations, se mettront au Verre ! Les
activités auront lieu d’avril à décembre
2010.
De plus Espace VERRE organisera le congrès du Glass Art Association of Canada du
26 au 30 mai 2010. Inscrivez dès maintenant à votre agenda une visite à Montréal
en 2010 ! www.espaceverre.qc.ca
MONTRÉAL CITY
OF GLASS IN 2010
Initiated by the Board of Montréal Museum
Directors (BMMD), glass will be the main
focus for about twenty of Montréal’s
Museums in 2010. Every aspect of glass will
be covered: architectural, artistic, environmental, historical, scientific and much more.
From April until December 2010, exhibitions,
demonstrations, movies, lectures, all kinds of
activities will put glass on center stage.
Also, Espace VERRE in Montréal will be
holding the next Glass Art Association of
Canada (GAAC) conference from May 26-30,
2010. Start planning your next trip to
Montréal, for 2010! www.espaceverre.qc.ca
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GLOBALIZATION AND THE IDEA OF THE ICONIC CANADIAN GLASS ARTIST
LA MONDIALISATION ET L’IDÉE D’ICONISER L’ARTISTE VERRIER CANADIEN
What defines
Canadian Glass
comment définir le
verre d’art canadien
BY KEVIN LOCKAU
t must have been July the fourth. I was a
TA at Pilchuck and it was final critique day
for the casting class under instructor
Henner Schroder. I have a vivid recollection of
one student's work on the table. I can't
remember what the casting looked like, but I
do remember the colours of red and white
and blue and stars and stripes in the sculpture. I can't say for certain, nineteen years
on- or if my memory is embellishing- but to
defend the work, the student started to sing
“God Bless America”.
You're serious, I asked incredulously.
He looked at me like I was from another planet, and maybe I
was, because the impression that still haunts me was this. No
Canadian would ever make a piece like that. No red and white,
maple leaves, and definitely no 'O, Canada', and defend it with
brash patriotism.
Just no way.
So what defines Canadian glass. Art glass, production glass,
design, flat glass, architectural glass, and ...beads, all could be
examined. What defines Canadian or Canadian anything? Now
brier rabbit, there's a big ball of tar for you. Your instinct tells you
not to go there. At the most primitive, the conversation becomes
how we are not Americans - and with a hopeful messianic figure as
their new Commander in Chief, we want to keep things,
well...polite.
I shouldn't actually be writing on this topic without first consulting glass artists with a much more experienced opinion.
Immediately artists such as Katherine Gray, Tolly Jones, Laura
Donefer, Koen Vanderstukken, Kris and Eva at Tsunami, come to
mind for a knowledgeable perspective. And if I thought for a further
two seconds, my voice would be near the very bottom of any list.
How Canadian of me. My intent, as this magazine goes on-line,
and in the spirit of its' humble beginnings under (then editor) Ben
Goodman, where this was a comfortable place to give a good rant
among friends - is to not to phone these excellent sources to paraphrase their input, but the conversation that ensues should be
public and inclusive. I hope to get the big ball of tar going, and get
I
ela devait être un 4 juillet. J’étais alors
assistant de cours à Pilchuck, lors de la
dernière critique de la classe de verre coulé
enseignée par Henner Schröder. J’ai un souvenir
marquant du travail d’un étudiant présenté sur
une table. Je me souviens moins bien de la forme
que des couleurs rouge, bleu, blanc, des étoiles et
des lignes barrées de la sculpture. Je ne sais pas
si j’exagère un peu après 19 années mais pour
défendre son travail l’étudiant s’était mis à
chanter God Bless America. « T’es sérieux ? », lui
ai-je demandé d’un air incrédule !
Il m’a regardé comme si je venais d’une autre planète. Il avait peutêtre raison. Cela me hante encore. Aucun canadien ne serait assez
audacieux pour faire une pièce semblable avec du rouge, blanc et
l’emblème de la feuille d’érable, et surtout pas accompagné du chant
patriotique Ô Canada. C’est carrément impossible.
Comment alors définir le verre d’art canadien ? Nous pourrions
examiner le verre d’art, le verre de production, le design, le verre plat,
le verre architectural et les perles. Que veut dire le mot canadien,
entièrement canadien ? « Maintenant lapin de brer *, il y a une
grosse boule de goudron pour toi. » Instinctivement, nous savons qu’il
ne faut pas dépasser certaines limites. Mais allons droit au but, la
conversation revient toujours au fait que nous ne sommes pas vraiment des américains. Et maintenant avec l’espoir posé sur les
épaules du personnage messianique et nouveau commandant en
chef, nous voulons rester polis.
Je ne devrais sûrement pas écrire sur ce sujet sans avoir d’abord
consulté des artistes verriers tels que Katherine Gray, Tolly Jones,
Laura Donefer, Koen Vanderstukken, Kris et Eva de Tsunami qui sont
mieux placés pour juger selon leurs expériences. À bien y penser, je
me placerais sûrement près de la fin de la liste. C’est tellement canadien de ma part. Mon intention, lors de la publication de cet article,
tout en respectant l’esprit fondateur de Ben Goodman (son humble
éditeur à l’époque), est de créer un lieu où nous pouvons confortablement argumenter entre amis, sans avoir à téléphoner à des gens pour
connaître leurs opinions. Il faut que les conversations soient
publiques et inclusives. J’espère faire rouler la grosse boule de
goudron hors du chemin. Je pense que c’est un bon sujet de discus-
C
suite à la page 14
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Cardiac. Kevin Lockau, sandcast glass, wood, cant hook, paint dyes, 14x24x10". From Holding Breath at the Lafreniäre & Pai Gallery, Ottawa.
Lockau continued from page 13
Lockau suite de la page 13
out of the way. I think it is an important topic to at least question, and it
doesn't get rolled around much in our circles, perhaps because of our
own self-interest.
Does this identity of 'Canadian' even matter? (It's ok, WD-40 takes
off both tar and pine sap.) I assume one of the mandates of this magazine is to represent Canadian glass internationally. One expects the label
does make a difference from a marketing perspective, especially when
the dollar was comparatively lower in value. But I return to the tar-ball
question - is our glass work, the best of what we create, unique in the
world of glass?
My response, in a word, is NO.
Love it or rebel against it. As a nation, most of our non-elite culture
streams unfettered across our southern international border. We don't
have time to even hit the mute button. Most of our population is stuck
sion mais qui ne l’est pas, sans doute, car nous ne voulons pas
déranger nos intérêts personnels.
Est-ce qu’une identité canadienne compte vraiment ? (C’est correct, le WD-40 enlève la sève de pin et le goudron). Je crois qu’un des
mandats de cette revue est de représenter le verre d’art canadien à
l’étranger. Doit-on penser que cette catégorisation fait une différence
sur le plan mercantile, alors que la valeur de notre dollar est plus
basse. Je reviens donc à la question de la boule de goudron; est-ce
que notre art verrier, le meilleur de nos créations est unique dans le
monde verrier ?
Ma réponse est tout simplement NON.
Aimez-la ou rebellez-vous contre. En tant que nation, la plupart de
notre culture non-élitiste se faufile sans retenue par notre frontière
internationale au sud. Nous n’avons même pas le temps d’appuyer sur
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near the chalk line snapped on the continent by the Oregon Treaty like
settled flakes in a snow globe. It's too bad we don't have more close
and powerful neighbours. It could balance things out. Being squeezed
between a rock and several hard places makes home look pretty green.
But the intangible vastness of the Atlantic to the east and the Pacific to
the west makes both old Europe and the Orient seem like distant
friends. And heck, the North is all ours to mythologize. It's the only
direction left that we can go to step back and away. Our national identity isn't an island one, a culture fortress with a moat like that of
Australia or Cape Breton. Our identity isn't even singular, it's multiregional. The differences of identity between regions of distance, language, oil and history might only be surpassed by the urban-rural
divide. We have many voices, many stories; increasingly ours is a global
identity. Three cheers for multicultural Canada.
However, being increasingly multicultural isn't particularly unique in
the world. Applied to a technical level of glassmaking, the Italian,
Venetian method of glass blowing circled the world like Columbus.
Czech Republic kiln casting techniques, Swedish sandcasting,
Australian fusing, all came to the new world, blowing from the west like
an Alberta clipper. Technique has a multinational label. While it is inappropriate to give the expertise of a glass technique solely a national
identity, like any good immigrant culture, we took it in and accepted it
as gospel.
It is in Canada's good fortune to be geographically close to the
Pilchuck school, the epicentre of multinational technique on this continent and perhaps the world, which makes it easier for Canadians to
attend. While our regional glass schools have their historic strengths
arising from their particular institutional programs and from the individual passions of their faculty Pilchuck (add Penland and Haystack to a
lesser degree) enhanced the learning curve. The experience of attending
a Pilchuck course also opened the door filled- with blinding light to
what the rest of the world was doing in your field- not just from luminary instructors, but from talented students abroad.
In a United Nations of culture and creativity, you quickly find others
that share your passion and your mythologies. Stories that you thought
were the bedrock of being Canadian. The Landscape that shapes you,
an identity that struggles to catch its breath against a monolith, a
painful relearning of lost memories, a quiet sense of poetic solitude
are also told in the works of other glass artists in other places around
the world. Borders do not limit great themes and good work. Play the
game of 'find the Canadian' in a survey of international glass. If you
don't know the artist, you may be surprised.
Twenty years ago, it was said, perhaps not so facetiously, that if the
glass sculpture had stones or bones in it...it must be Canadian. I've
even used damn beaver chewed sticks in glass sculpture, and today my
work is still inspired by shield landscape. Artists around the globe are
equally inspired, and sometimes use stone or bone. As Canada
becomes more and more urban, more culturally diverse, Northrop Frey's
Idea of the North becomes more and more... an idea. With Internet
communications, travel, immigration and green cards, where you are
from is less of a question than where are you now.
So what's left? My hands are as tarred as an oil sands retaining
pond. Where does that leave our patriotic romanticism? Is there nothing
uniquely ours to define or differentiate what we make ‘as Canadian'?
There is a part of our Canadian mythos that may be of help. The Lester
Pearson legacy distinguishes Canadians with the reputation of being
diplomatic, peace brokers and having the ability of finding compromise
and common ground on the world stage. I did use the word 'mythos'
intentionally, for where it may be suffering politically, it may be a virtue
for its citizens to maintain. The beauty of having so many creative
le bouton muet. La majorité de notre population se situe près de la
ligne de craie qui a divisé le continent suite au traité d’Oregon, tels des
flocons dans un globe de neige. C’est dommage de ne pas avoir
d’autres riches voisins. Cela pourrait équilibrer le tout. Être coincé entre
un marteau et plusieurs enclumes, ferait ressortir que notre jardin est
plus vert qu’il n’y paraît. L’immensité impalpable entre l’Atlantique à
l’est et le Pacifique à l’ouest fait ressortir la vieille Europe et l’Orient
comme des amis distants. Et par-dessus tout, le nord est à nos côtés,
plein de mythologie. C’est le seul point de vue restant où nous pouvons prendre du recul et observer. Notre identité nationale n’est pas
celle d’une île, d’une forteresse comme l’Australie ou le Cap Breton.
Notre identité n’est même pas singulière, elle est multirégionale. Les
différences entre les régions à cause de la distance, de la langue, du
pétrole et de l’histoire sont possiblement dépassées par la division
urbaine et rurale. Nous avons plusieurs voix, plusieurs histoires; de plus
en plus, elle devient une identité mondiale. Trois hourras pour le
Canada multiculturel.
Toutefois, le fait de devenir de plus en plus multiculturel n’est pas
si rare dans le monde. Appliqué aux techniques des verriers, les
Italiens et les façons de faire vénitiennes en verre soufflé ont fait le
tour du monde, comme Christophe Colomb. De même, les techniques
en pâte de verre tchèques, du verre coulé dans le sable à la suédoise, de la fusion australienne sont toutes parvenues au NouveauMonde, soufflant de l’ouest comme un clipper albertain. La technique
porte désormais une étiquette multinationale. Même si ce n’est pas
approprié de donner une identité nationale à une technique verrière,
comme toute bonne culture d’immigrant, nous l’avons pris et accepté
comme l’Évangile.
Le Canada a la chance d’être situé géographiquement près de l’école Pilchuck, l’épicentre multinational de la technique sur le continent
et possiblement au monde. Ce qui veut dire que les canadiens peuvent
facilement y prendre des cours. Si nos écoles régionales de verre ont
leurs forces et leurs histoires distinctes, selon leurs programmes
d’études particuliers et la passion transmise par leurs enseignants,
c’est Pilchuck (et à un degré moindre Penland et Haystack) qui relève
les standards d’enseignement. L’expérience de prendre un cours à
Pilchuck est non seulement une ouverture lumineuse sur ce qui se fait
de mieux au monde, pas seulement au contact des brillants formateurs, mais beaucoup au contact de talentueux étudiants étrangers.
Dans une nation unie par la culture et la créativité, il est facile de
trouver quelqu’un pour partager sa passion et ses mythologies. Des
histoires que l’on croyait fondamentale pour être Canadien Le paysage
qui nous forme, une identité qui cherche son souffle pour affronter un
monolithe, un apprentissage difficile de souvenirs oubliés, une solitude
poétique dans toute sa quiétude, sont aussi transmis dans les œuvres
d’artistes verriers à travers le monde. Les frontières n’imposent pas de
limites aux thèmes et aux bonnes œuvres. Essayez de deviner quels
sont les artistes canadiens d’une collection internationale d’artistes
verriers. Vous serez surpris.
Il y a vingt ans, on disait sérieusement, que si une sculpture de verre
intégrait des pierres ou des os, elle devait être canadienne. J’ai même
utilisé des bâtons grugés par un castor dans une de mes sculptures et
aujourd’hui mon travail s’inspire encore du bouclier canadien. Des
artistes du monde entier ont les mêmes inspirations et utilisent aussi
des pierres et des os. Comme le Canada s’urbanise de plus en plus et
se diversifie culturellement, l’idée du Nord de Northrop Frey devient de
plus en plus…une idée. Avec les communications par Internet, le
voyage, l’immigration et les visas d’immigration, la question n’est plus
d’où vous venez mais plutôt où êtes-vous en ce moment.
Qu’est-ce qui reste ? Mes mains sont aussi goudronnées qu’un
suite à la page 19
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MISSISSAUGA LIVING ARTS CENTRE
2009 Resident Artists
3
1
4
2
The Living Arts Centre in Mississauga, Ontario is an important resource for the arts and education
featuring over 225,000 square feet of multiple performance venues, visual arts studios and exhibition
spaces. Since its inception in 1997, the Centre has played host to an impressive collection of artists
in its Studio Residency Program. Within the program, studio facilities in Wood, Ceramics, Painting &
Drawing, Flameworking, Sculpture, Textiles, Photography, and Glass can be found onsite. With the
opportunity to work across all studio spaces, the Resident Artists have access to a wide array of
equipment needed to encourage experimentation in the medium. The program’s current Residents
represent a dynamic cross-section of the emerging talent within the field.
www.livingartscentre.ca
16
5
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9
10
7
6A
8
6B
1. Kyle Brooke Harrison
Canyon- 2008
6.5" x 8.5" x 4.5"
Blown glass with copper inclusions.
2. Heather Konschuh
Verve - 2008
16” x 9.6”
Blown and assembled glass
3. Michelle Lewin
La Guardia- 2007
30” x 30” x 18
Japanese paper, wooden umbrella
frames, thread, paint, blown glass.
4. Matt Robertson
Dew’ds 30” x 7” x 7”
Blown and solid sculpted glass, attached
hot.
5. Tara Gilchrist
Flora Bowl - 2007
12” x 3”
Photosensitive glass.
6A. Robert Tannahill
Dark Cravings - 2007
15” inches high. Blown glass.
6B. Miia Virtasalmi
Cupcake Darling - 2008
29” Height. Blown and fused glass, highfire enamels.
7. Karli Sears
Pollinaria - 2008
26” x 8” x 8”
Blown glass, sandblasted; wood base,
corner mounted.
8. Lucy Roussel
Japanese Maple Haiku - 2006
54” x 2” x 4”
Sand-cast glass, glass powders, steel
frame, silicone
9. Nicole Kibath
Blue Sea-form Bowl - 2008
12” x 14” x 13”
Hand blown glass
10. Michael Deptuch
Together - 2007
18” x 8” each
Sand cast glass and steel base.
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2009 Resident Artists The Living Arts Centre
Artist Statements
Kyle Brooke Harrison
I focus on the nature of the glass as a material combined with
inspiration from my natural surroundings to create my work. I
see art through technical processes and observances of negative
space, line, curve, and colour. My purpose is to create work
that is both beautiful and compelling, while allowing the viewer to develop their own interpretations of what they see in my
work. This piece is an interpretation of the South-Western
landscape.
Robert Tannahill and Miia Virtasalmi
Robert and Miia have been a practicing glass making team for
over 10 years. They met at the School of Craft and Design,
Sheridan College, and both completed a MA in Ceramics and
Glass Design at the University of Art and Design in Helsinki,
Finland. In 2008, they exhibited together at the Norfolk Arts
Centre in Simcoe. Robert will be taking part in a group exhibition at the Canadian Clay and Glass Gallery and the Design
Museum of New York.
Heather Konschuh
The glass forms that I construct are reflections of my upbringing in rural Saskatchewan. Elements of the natural environment, particularly the diversity of flora and fauna across landscapes, have always fascinated me. Nature doesn't follow
mathematical presicion, yet it looks very precise. This is the
concept behind Verve. This sea-like glass piece has outer red
and apricot cones that are slightly asymmetrical to each other.
Verve sits on one of the transparent cones and balances off
centre.
Karli Sears
Intrigued by the forms of living things, Karli Sears creates complex botanically-inspired structures from repeated blown glass
elements. Assembled with a variety of materials and techniques, her sculpture uses the living qualities of glass – its fluidity and glowing colour - to capture something of the
ephemeral beauty of the natural world.
Michelle Lewin
As a visual language, my work stems from subjective experience. Through distilling the nebulous into the tangible and
concrete, I try to capture fleeting moments and render them
permanent and substantial.
This piece refers to the interdependent relationship between
fragile internal and external structures. The vessel houses the
emerging glass bubble (suggesting pearls) and is, in turn, supported by the structure that these bubbles provide. It also questions our notions of internal and external, support, protection,
strength and fragility.
Matt Robertson
Dew’ds
Waking up, walking outside, observing the grass being Dew’d.
I believe that everyone was put on this earth for a reason.
Some people may spend their entire lives trying to understand
what that reason might be. It’s very clear to me that my purpose is to create. I feel it in every bone of my body. Glass has
provided me with the material to express my ideas. Glass is
not an easy medium to work with. It’s a challenge, but one
that I look forward to every time I step into the hot shop.
Tara Gilchrist
The nature of the material requires an immensely physical
approach, teaching me to work with the glass, not against it,
and the mental challenge stresses patience and focus at all
times. In my work, I strive to marry the relationship between
surface and form. I employ imagery and pattern to inspire
emotions in my audience. My goal is to make people take a
second look at a seemingly ordinary vessel.
18
Lucy Roussel
Lucy Roussel’s work focuses on organic forms and textures
inspired by nature. Artists such as Tiffany, Lalique and Galle
have influenced her hot glass forming work. Lucy’s works are
reflective of a variety of techniques including kiln glass casting,
pate de verre, blown glass, sandblasting, stain application, glass
frit work, applied silicone, and colour.
Nicole Kibath
My work is a journey. I am fifteen years in and still struck by
where it has taken me, internally and externally. This passion
that began in Oakville, Ontario has brought me from one corner of the globe to another. My work is a process. Sometimes
I have a vision that produces a series of high-end works; sometimes I take on the craftsman’s task of steadily producing functional pieces. Journey and process, art and craft, my work is
always teaching me. Glass blowing is a continuous reminder
that in all art there is no control; there is only readiness and
practice.
Michael Deptuch
This is one of a series of sculptures inspired by the immensity
of geological time and the relative insignificance of humanity.
The artist's process of cooling molten glass in a mold made of
sand and minerals over many hours captures the pure essence
of glass and the art of glass forming: heat and sand.
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Lockau continued from page 15
Lockau suite de la page 15
voices, so many stories, so many technical skills to draw from - is
that the benefits of working collaboratively are wealthier. Setting
aside a part of your creative time and artistic ego to join skills
and trade vision with another, has for me always given more
rewards in return than I could have foreseen. Intentionally and
indirectly, all the most satisfying projects that I have been part of
in my career were done with varying degrees of collaboration.
Dangerous Art was an ambitious OCA (Ontario College of Art) collective, the Glass Architecture Project with Alfred Engerer at the
helm put me to work with architect Paul Syme of Toronto (and
there can be no better challenge of how you see your material
than to work with a non glass creative person).
Brad Copping and I did an exhibition where we traded components in their early stages for the other to take in their own direction, I have worked with furniture maker and canoe-tripper Andrew
Reesor on sculpture components and taken much needed design
criticism. I continue to work with master blacksmith Duerst trading components back and forth for reworking till we are both satisfied. Anyone who has a spouse who is an artist is fully aware of
the important input that the working relationship can give to each
other's personal artwork. One should also recognize as well the
grey area of collaboration, from design to completion of employee
input. I am reminded of William Morris's blunt words as he
entered the Harbourfront Glass Studio for the first time to give a
demo, "you guys are crazy if you blow alone." Times have
changed. The potential here is for more than a shared studio,
equipment and expenses, an extra set of hands to help punty-up;
a true collaboration creates greater than the sum of the parts.
Targeted thematic group exhibitions should not be confused
with collaboration. As a rule, participating artists are picked
from a line-up like a neighbourhood game of pond shinny, but
no one actually gets to play "as a team". No strategy, no practice, no passing, no scoring, just show up for the game with
your stick. It’s all puck hogs. We are too comfortable in the
mold and market that we create around our personal work and
defensive of our artistic persona. To be represented outside of
these constructed confines of identity assumes risk and a loss
of immediate control. Private galleries that market your work are
also most comfortable where the authorship of creation is well
defined and hierarchical and fits recognizably into the artist's
Body of Work. While a collective may have a faster divorce rate
than collaborating couples, they are cauldrons of creativity and
critique (and sometimes politics), which influence is far lasting
in effect. Collaboration has no rules. It is a process of evolution that is different for each participant, each project. It can
dump you unceremoniously with a negotiated settlement into a
foreign but more vastly stimulating landscape.
Could the nation that cradled the Six Nations, the Group of
Seven, Painters Eleven, General Idea, Fastwurms and coalition
governments be a leader in collaborative creativity? Could an
identity that boasts these skills, foster creative momentum that
weaves regional voices within Canada? Abroad? Could our voices speak from a shared passion not merely wrapped in a red and
white flag of marketing? Could the Glass Art Association of
Canada be the architecture for the complex logistics? Perhaps it
is in our national psyche to make the possibility of collaboration
a virtue, and in time be internationally recognized for a collective
process of making, and publically shared authorship, beyond the
excellence of the glasswork itself.
réservoir de sable bitumineux. Où se situe notre patriotisme romantique ? N’avonsnous pas de mots pour définir ou pour différencier ce que nous faisons en tant
que canadien ? Y a-t-il une partie du mythe canadien qui pourrait nous aider ?
L’héritage de Lester Pearson distingue la réputation des canadiens comme des
diplomates, des gardiens de la paix et des médiateurs sur l’échiquier mondial. J’ai
utilisé le mot mythe intentionnellement, car même si la réputation a souffert politiquement, elle demeure une vertu que les citoyens doivent cautionner. La beauté
d’avoir tant de voix créatives, tant d’histoires, plusieurs connaissances techniques
à puiser sont des avantages enrichissants pour travailler en collaboration. Mettre
de côté son temps de créativité et son égo artistique afin d’unir ses connaissances
et sa vision du commerce avec les autres, apportent toujours plus de bénéfices en
retour que nous le prévoyions. Intentionnellement et indirectement, les projets les
plus satisfaisants dans ma carrière ont été faits avec collaboration, sous une
forme ou une autre. Dangerous Art du Ontario College of Art était un collectif, Glass
Architecture Project avec Alfred Engerer à la barre m’a permis de travailler avec
l’architecte Paul Syme de Toronto (y a t’il un meilleur défi pour connaître le verre
que de travailler avec une personne créative qui ne travaille pas avec habituellement), Brad Copping et moi avons exposé ensemble en échangeant des éléments
pour les utiliser vers de nouvelles orientations. J’ai travaillé avec l’ébéniste et
canoéiste Andrew Reesor sur des éléments sculpturaux et il m’a fait plusieurs critiques de design. Je collabore toujours avec le maître forgeron Duerst en
échangeant des éléments que nous retravaillons jusqu’à en être satisfaits.
Quiconque a un conjoint (e) artiste connaît très bien l’importance du partage dans
le travail artistique. Nous devons reconnaître la zone grise de la collaboration, de
la conception à la réalisation et aussi du partage avec les employés. Cela me rappelle les mots directs de William Morris en entrant dans l’atelier de verre à
Harbourfront pour faire une démonstration « Vous êtes fous, si vous choisissez de
souffler tout seul ». Les temps ont changé. Le potentiel n’est plus qu’un simple
partage d’atelier, d’équipements et de dépenses, deux mains de plus pour
manipuler le pontil; une véritable collaboration crée encore plus que la somme de
toutes les parties.
Les expositions thématiques de groupes ciblés ne devraient pas être confondues
avec de véritables collaborations. En général, les artistes qui participent sont sélectionnés individuellement, comme des participants alignés pour une partie d’hockey
junior sur les étangs gelés, sans avoir un véritable sens de faire partie d’une équipe.
Pas de stratégie, pas de pratique, pas de passe, pas de but, il suffit seulement
d’apporter son bâton. Ce sont tous des monopolisateurs de rondelles. Nous
sommes trop confortables dans le moule et le marché que l’on a créé autour de
notre travail personnel. Nous sommes toujours défensifs de notre image artistique.
Lorsqu’on est représenté en dehors des limites fixées de notre identité, nous courrons toujours des risques et craignons une perte de contrôle immédiat. Les galeries
privées qui marchandent vos œuvres sont seulement à l’aise lorsque l’œuvre est
bien associable à l’auteur, est hiérarchique et conforme à l’ensemble de vos
œuvres. Si un collectif a plus de chance de finir en divorce qu’un couple collaborant, ils sont des creusets de créativité et de critiques (et parfois politique), avec
une influence persistante. La collaboration n’a pas de règles. C’est un processus
d’évolution qui diffère pour chaque participant ou chaque projet. Suite à la négociation d’un accord, vous pouvez émerger dans un paysage étranger, vaste et stimulant.
Est-ce que le pays qui est le berceau des Six Nations, du Groupe des Sept, du
Groupe des Onze, de General Idea, de Fastwurms et d’un gouvernement de coalition, peut devenir un leader en collaboration créative ? Est-ce qu’une identité qui
se vante d’avoir les habiletés, peut encourager l’élan créatif qui tisse des voix
régionales du Canada ou de l’étranger ? Nos voix peuvent-elles parler d’une passion partagée sans qu’elles soient enroulées dans un drapeau rouge et blanc mercantile ? Est-ce que l’Association du verre d’art du Canada peut être l’architecture
d’une logistique complexe ? C’est peut-être dans notre psychologie nationale de
rendre toute collaboration vertueuse et avec le temps, d’être reconnus internationalement pour un processus collectif de fabrication et de partage des droits
d’auteurs publics, au-delà de l’excellence de l’œuvre en verre.
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Page 20
BY KATHERINE GRAY
s I write, it's been pretty much 14 years, since I decamped
for the United States, thinking at the time that it was going
to be for 3 months. I bring that up because I do feel slightly disconnected from the Canadian glass scene, despite staying
somewhat abreast of current goings-on from regularly seeing familiar faces at GAS conferences, SOFA, summer craft camps, etc. But
it occurred to me that I know precious few of the newer, younger
generation of artists who would have arrived on the scene since I
left, and that troubles me. Do I have to be in Canada to be aware
of this talent?
I've been very fortunate in my career to be able to travel to
Australia, Japan, and Europe and all over America. I hate to say it
and I know people are going to hate me for this, but one thing that
seems to distinguish Canadian glass is the low profile it keeps!
Australia, for instance, invites a reasonable comparison: a country
A
CanadianGlass
Verrecanadien
n ce moment, je vous écris et cela fait presque 14 ans que j’ai
décampé pour habiter aux États-Unis, en pensant y rester
durant trois mois. Je le mentionne car je me sens un peu
déconnectée de ce qui se passe sur la scène du verre d’art canadien
même si je me tiens un peu au courant en voyant des gens aux congrès du GAS, à SOFA et aux camps d’été en métiers d’art ou ailleurs.
Il m’apparaît que je ne connais presque pas les artistes verriers de la
relève, la jeune génération, depuis que j’ai quitté le pays. Est-ce que je
dois être au Canada pour connaître tous ces talents ?
J’ai été chanceuse dans ma carrière d’avoir voyagé en Australie, au
Japon, en Europe et à travers l’Amérique. Je sais que certaines personnes vont me haïr pour ce que je vais dire, mais nous pouvons distinguer le verre d’art canadien par son profil plutôt discret ! En comparaison à l’Australie : un pays semblable en superficie géographique
et en population, plus isolé que d’autres pays, dont le Canada.
Cependant, il y a dans ce pays un milieu en art verrier reconnu à
l’international. Il est vrai qu’on y travaille beaucoup le verre Bullseye
sous toutes ses facettes, c’est d’ailleurs pour cette raison qu’ils ont
reçu l’appui de Bullseye Glass Corporation pour leur promotion et
leurs expositions. J’ai l’impression que Klaus Moje est responsable de
ce phénomène. J’irais jusqu’à dire qu’il est le Chihuly du verre d’art
australien. Un artiste charismatique et ambitieux qui a réussi à
E
suite à la page 23
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Page 21
Photo by Joshua White
CCG spring 1 2009
Forest Glass. 2009. found glass, acrylic shelves, steel. Heights
range from 8'2" to 9'6" There are 3 in the exhibition each with
approximately 700 glasses. Forest Glass is part of Gray's exhibition
it's a very deadly weapon to know what you are doing, at the
Acuna-Hansen Gallery (Feb 14 -Mar 21) and Forest Glass will be
part of a site specific installation by Gray at the Chrysler Museum
in Norfolk, Virginia as part of the larger festival, The Art of Glass 2,
which will be held April 26 -July 19, 2009.
21
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Gray continued from page 20
of similar geographic size and population, physically more isolated from other countries than say, Canada, yet in that country, there is a world renown glass scene. Admittedly, a lot of
the work is based on working with Bullseye glass in all its
permutations, and consequently secures the support of the
Bullseye Glass Corporation for promotion and exhibitions.
My impression is that Klaus Moje was the progenitor of this
phenomenon. I'd even go so far as to say that he is the Dale
Chihuly of Australia, a charismatic and ambitious artist who
by sheer force of will was able to develop an entire collector
class, support network and glass education powerhouse at the
ANU. Does the difference between Australia (and America)
and Canada boil down to the presence or lack thereof of a
larger-than-life glass dynamo?
That could be an easy answer which doesn't paint the full
picture, but it does speak to an anomalous insularity that I
remember experiencing when I was living in Canada. I distinctly recall instances of snide condescension and/or blatant
disregard for what our peers were doing across the border. I
know Canadians are sensitive to always living in the shadow
options for pursuing a Master's degree
elsewhere, particularly in the States, have
dwindled, become outrageously unaffordable or increasingly competitive. The deleterious side effect is an ongoing lack of a
sustained intellectual rigor; the constant
quest and questioning that is so often
spawned from some of the better grad programs is on the whole missing in Canada.
Again, there are those exceptional voices
that don't need a degree to be insightful
and influential artists, but they should not
exist alone in the wilderness. I am still chagrined to see how slow and resistant
Canadians seem to be when it comes to
embracing technique to the point where
there is a level of mastery, and then making something of their own with it.
Certainly there are some accomplished
craftspeople, but there are a lot of
But if Kevin Lockau is wringing his hands to define Canadian glass
and can’t do it, I don’t know who can!
of the cultural behemoth to the South. I can empathize with
this sensitivity, even as I have evidently embraced living here.
As for my American friends, it's not that they don't understand that feeling, they just don't comprehend it all. I can't
help but wonder if this long shadow wears on Canadians,
whether artist or not, somehow discouraging tall poppies
from emerging.
Please keep in mind that I am speaking in generalities, as I
know there are plenty of artists out there thinking big, showing internationally, winning awards, and making a fine living
and career from working with glass. But if Kevin Lockau is
wringing his hands to define Canadian glass and can’t do it, I
don’t know who can!
There would have been a time when I would have characterized Canadian glass as a mixed media state of affairs, the
glass components typically not exhibiting much in the way of
skill or polish and always used in conjunction with, yes,
stones, bones, rusty detritus, and one of my all-time faves,
beaver chewed sticks. Thankfully, times have changed, and
perhaps it is an indication of our hyper-interconnected world,
as Kevin suggests, that no cohesive or overarching vision has
emerged in the wake of rough-hewn artisanship.
Perhaps this could be attributed to what I would say is a
fundamental shortcoming in the glass education arena in
Canada in that there are no MFA programs, which is of
course at odds with the fact that one needs an MFA to teach.
If you had asked me about that ten years ago, I would have
thought that situation awkward, but not so detrimental. I
wouldn't say the same today. In the intervening years, the
22
wannabes and knock-off artists thrown in for good measure.
Not that this is particular to Canada, in fact, I find it endemic
within the glass community as a whole, but their presence
anywhere poisons the well of honest selfexpression, and
Canada offers a comparatively small well.
At this point, I feel I am grasping - trying to locate some
seed of innate ‘Canadian-ness’ that permeates the current, and
recent past, glass scene, and for better or worse, it is a struggle to try and come up with an answer. A continuing affinity
for the natural landscape? More technically adept renditions
of stones and bones? Something that could (or could not?) be
confused with American work? Ten, twenty or thirty years
ago, it would have been easier to define Canadian glass,
French glass, Japanese glass, etc. It is a polyglot world we
inhabit now, where cultural distinctions of any kind are giving
way to the worldwide trend of homogeneity. Perhaps this
should sound an alarm that we need to maintain our national
artistic identities, but there has to be a balance as ideally, we
all want to make art that is appreciated on a world stage,
don’t we?
Katherine Gray received her AOCA from the Ontario College of Art
and her MFA from the Rhode Island School of Design. Since then she
has been the recipient of several residencies and fellowships. Her work
has been exhibited throughout the USA and internationally in group
and solo exhibitions. It is in the collections of the Corning Museum and
the Museum of American Glass. She currently lives and works in Los
Angeles, where she is also a faculty member at California State
University San Bernardino.
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Gray suite de la page 20
conjointement à des pierres, des os, des détritus rouillés, ainsi
que mon préféré, des bâtons grugés par des castors.
Heureusement, les temps ont changé et c’est probablement un
indice de notre monde hyper interconnecté. Comme le suggère Kevin, il n’y a pas eu émergence de visions cohérentes et
globales dans la foulée du développement des métiers d’art.
Cela pourrait être attribué aux limites fondamentales de
l’éducation des arts verriers au Canada, considérant qu’il n’y
a pas de programme universitaire de maîtrise en arts plastiques (avec une spécialisation en arts verriers) et le fait qu’il
faut avoir ce diplôme pour enseigner. Si vous m’aviez questionné, il y a 10 ans, j’aurais trouvé la situation gênante mais
pas fâcheuse. Ce qui n’est pas le cas, aujourd’hui. Au fil des
ans, les options pour faire une maîtrise à l’étranger, surtout
aux États-Unis, sont réduites, sont devenues trop dispendieuses et de plus en plus compétitives. L’effet
secondaire le plus pernicieux est le manque constant de
rigueur intellectuelle; la recherche et le questionnement continus que provoquent les meilleurs programmes de maîtrise
Mais si Kevin Lockau se tord les mains à essayer de définir l’art verrier
canadien et n’y arrive pas, je ne sais pas qui peut le faire !
développer, par la force de son désir, une classe consistante de
collectionneurs, un réseau de soutien, un puissant système
éducatif à l’Université nationale d’Australie (ANU). Est-ce que
la différence entre l’Australie (et l’Amérique) et le Canada sont
dues au fait qu’il manque un artiste verrier dynamique et plus
grand que nature ?
Cela pourrait être une réponse facile mais cela ne décrit pas
toute la situation et ne pourrait pas expliquer l’isolation anormale que j’ai ressentie lorsque je vivais au Canada. Je me souviens distinctement de la condescendance ou/et du mépris des
travaux que mes pairs recevaient de l’autre côté de la frontière. Je sais que les canadiens sont devenus sensibles, à la
longue de vivre dans l’ombre de la très puissante culture au
sud de nos frontières. Je sympathise avec cette sensibilité,
même si j’ai accepté de vivre de l’autre côté de la frontière. En
ce qui concerne mes amis américains, ce n’est pas qu’ils ne
comprennent pas ce sentiment, ils ne le saisissent simplement
pas. Je ne peux que me demander si cette longue pénombre a
usé les canadiens, artistes ou pas, et découragé les coquelicots
à pousser pleinement.
Notez bien que je généralise, je sais très bien qu’il y a
plusieurs artistes qui visent haut, qui exposent à travers le
monde, qui gagnent des prix, qui vivent de leur art. Mais si
Kevin Lockau se tord les mains à essayer de définir l’art verrier canadien et n’y arrive pas, je ne sais pas qui peut le faire !
À une autre époque, j’aurais caractérisé le verre d’art canadien, en faisant l’état de situation par les techniques mixtes,
parce que les éléments de verre ne démontraient pas de vraies
habiletés ou de raffinages particuliers. Ils étaient présentés
manquent au Canada. Encore, il y a des talents exceptionnels qui n’ont pas besoin de diplômes pour devenir des
artistes visionnaires et d’influences, mais ils ne devraient pas
être seuls dans la brousse. Je suis chagrinée de voir à quel
point les canadiens sont lents et résistants à accepter la
maîtrise de la technique, pour en faire quelque chose de
bien. Certes, il y a des artisans accomplis, mais aussi beaucoup d’ambitieux et de mauvais imitateurs. Ce n’est pas
seulement au Canada, qu’on trouve ce genre d’épidémie
dans la communauté des artistes verriers. Toutefois, cela
empoisonne les sources de l’expression de soi. Et le Canada
représente, en comparaison, une bien petite source.
À ce point, j’essais de comprendre, d’identifier le germe
inné du canadianisme qui imprègne le milieu verrier de nos
jours et du passé. Pour le meilleur ou le pire, c’est difficile de
trouver une réponse. Une affinité continue pour le paysage
naturel ? Plus d’œuvres, bien faites techniquement, avec des
pierres et des os ? Des pièces qui pourraient (ou ne pourraient
pas) être confondues avec des pièces américaines ? Il y a 10,
20 ou 30 ans, cela aurait été plus facile de définir le verre
d’art canadien, français, japonais, etc. Maintenant, nous
vivons dans un monde polyglotte, où toutes les distinctions
culturelles ouvrent la porte à de nouvelles tendances
mondiales d’homogénéité. Peut-être que cela devrait sonner
une alarme que nous devrions maintenir nos identités artistiques nationales. Idéalement, nous devons être le plus possible équilibré, puisque nous voulons tous créer de l’art qui sera
apprécié à l’échelle mondiale, n’est-ce pas ?
23
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Merit and Meaning - Another Tilt
PAR BEN GOODMAN
La valeur et la signification
- une autre controverse
henever I read one of Kevin Lockau's articles, I
am quickly engaged. He asks important questions and presents stimulating views that
deserve consideration. In his article in the Winter '08 journal, he talks about two issues - the need for artists to be
aware of the environmental impact of their work and secondly, how we achieve societal acceptance of our art and
of us as artists.
Glassmaking is not a "green" process - not necessarily
any worse than many other media, but not any better.
Both the manufacture of the raw material (cullet, raw
batch, colour bar) and the conversion of this material in
hot glass studios to create the work, are both energy intensive processes that can have an undesirable environmental
impact. The technology exists to reduce this impact but it
does complicate the operation of most small studios. I
refer to the potential to use window glass or bottle glass
scrap - modified, as a raw material. This "scrap" is usually
destined for landfill and is usually available locally saving
a lot of transportation costs. I know of one studio that
does melt window glass scrap with some success. The larger issue by far though, is the degree to which the desirable
societal benefits that result from our art might mitigate any
negative environmental impact, and how to attain this societal acceptance of our work.
As you walk through any urban landscape you are confronted with stuff; mall after mall, store after store, gallery
after gallery - thousands and thousands of objects. Every
imaginable material, colour, size, design, use, non-use! The
inescapable conclusion is that the world is over indulged
with stuff. The product of our work as artists/crafters can
add to this stuff. As artists, making objects provides part
or all of our livelihood. It also satisfies our need for selfexpression. In order to satisfy these needs, we risk adding
to an already over-cluttered and indulged world. Can we
reconcile our desire for self-expression so that we can
make a living and still have a net benefit to society?
haque fois que je lis un article de Kevin Lockau,
je me sens rapidement interpellé. Il soulève des
questions d’importance et présente des points de
vue stimulants qui méritent considération. Dans l’édition
d’hiver 2008, il nous entretient de deux préoccupations ;
le besoin des artistes de considérer l’impact environnemental de leurs œuvres et deuxièmement, comment
atteindre l’acceptation sociétale de leur art et d’eux même
en tant qu’artiste.
Travailler le verre n’est pas un processus « vert » mais
ce n’est nécessairement pas un matériau qui est pire
qu’un autre, ni meilleur. Le fabricant de la matière brut
(calcin, mélange vitrifiable, ballote de couleur) et la conversion de la matière dans l’atelier de verre à chaud en
créations, sont des procédés qui peuvent avoir un impact
indésirable sur l’environnement. La technologie existe
pour réduire cet impact mais peut compliquer les opérations pour les petits ateliers. Je réfère au potentiel de
transformer le verre à vitre ou de recycler des bouteilles.
Les matières recyclables sont généralement destinées aux
dépotoirs et sont disponibles localement pour économiser
des frais de transport. Je connais un atelier qui a eu beaucoup de succès à fondre du verre à vitre recyclé. Le plus
important est de s’assurer que le niveau désiré de bénéfices sociétaux de notre art puisse réduire le niveau d’impact négatif sur l’environnement et de trouver le moyen
d’atteindre l’acceptation sociale de notre travail.
En circulant dans n’importe quel paysage urbain, on
est confronté aux objets : centre d’achat après centre
d’achat ; magasin après magasin ; galerie après galerie ;
des milliers et des milliers d’objets. Tous les matériaux
imaginables, les couleurs, les dimensions, les conceptions,
utilitaires ou non-utilitaires. La conclusion est de toute
évidence que le monde est saturé d’objets. Le produit fini
de notre production en tant qu’artiste ou artisan peut s’ajouter à ces objets. En tant qu’artiste verrier, nous faisons
des objets en grande partie pour gagner notre vie. Pour
suite à la page 26
W
24
C
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Page 25
Left: Nature in her Nakedness. Ben Goodman 2009.
Found wood, cast glass, wood, steel. 47” h. x 10” x 10”
Top: Watcher #7. Ben Goodman 2009.
Found wood, fused and bent glass. 16” h. x 13” x 12”
Above: Equilibrium. Ben Goodman 2009.
Found wood, bent glass, steel. 6” h. x 22”L x 12”w.
25
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Goodman continued from page 24
The way to deal with this question is to ensure that everything you produce has merit. And I don't mean in just a casual
sense. It has to have real merit. While it doesn't entirely
resolve the question of "overindulgence and clutter", it does
apply a test that should weed out the irrelevant. In the case of
functional work, the merit must be a combination of usefulness
and pleasure that can give the work honour in its final placement. In the case of non-functional work, the merit has to be in
the meaning. It has to represent an important statement, or feeling of the creator. So, honour and meaning - both very positive
attributes. As artists, we must each be our own most severe
critic. We must edit our work to a very high standard, a standard we establish before we start to work.
A short anecdote from my student days at the Ontario
College of Art illustrates this principle dramatically. As part of
our final year critique, we were asked to set up a selection of
our best work in a gallery setting. The head of the glass department, Karl Schanz, would join us and conduct the crit. We were
all pumped up for this important event - a little nervous of
course and quite proud of our work from the session just ending. After all, what we had set up, we thought, was the cream
of all of our hard work over the last few months.
Karl entered the gallery dragging a garbage can and a large
steel pipe. We were a bit apprehensive, as these were not the
usual props he brought with him to these crits. He then advised
that we were to pick out what we considered the two best
pieces of work from the collection we had set up. The rest, we
were to smash into the garbage can! We were all devastated at
this enforced "edit" of what we had already thought was the
best of our work. Some were close to tears. The point he
demonstrated, successfully, was that it is a mistake to allow
one's work to become so precious, that you lose sight of the
quality and meaning that you had set out to achieve at the outset. This incident occurred over twenty years ago and I have
never forgotten this important lesson. Perhaps we could all benefit by having a garbage can and a steel pipe sitting in the corner of our studio - a constant reminder to always strive for
quality in our work.
I read a passage in a book some time ago, that eloquently
states the characteristics of hand crafted objects that can assure
them a unique place in society: "the quality of the final piece
should embody forever within itself some echo of the maker's
voice, some tremor of their hand, some molecule of their
breath" *. Perhaps embodying these qualities ensures the merit
and meaning that can give our work a positive place in society.
*from Measure of Love, Christopher Wilkins
Ben Goodman lives and works on Saltspring Island on the West Coast of
BC. He is a graduate of the Ontario College of Art - 1990, past
President of GAAC (1994-2002) and past editor of the Glass Gazette
(1994-2004). These days, Ben indulges in more intellectual, mental art
than physical art - another way to avoid adding to the world's clutter.
Perhaps this is a natural "production adjustment" phase that all artists go
through over their creative life span. Visit: www.bengood.ca
26
Goodman suite de la page 24
satisfaire notre besoin d’expression personnelle, nous
risquons d’ajouter plus d’objets dans ce monde déjà
saturé et complaisant. Peut-on réconcilier le désir de
s’exprimer pour gagner notre vie tout en créant un
bénéfice pour la société ?
L’attitude à propos de cette question est de s’assurer
que notre production possède une valeur. Et je ne veux
pas dire dans un sens réconfortant. Cela doit avoir une
valeur réelle. Même si cela ne résout pas les problèmes
de saturation et d’accumulation, cela devrait permettre
d’éliminer tout ce qui est sans importance. Pour l’art
utilitaire, la valeur devrait combiner l’utilité et le plaisir
qui est apporté par la finalité de la pièce. Pour l’art nonutilitaire, la valeur doit être dans le propos ou sa signification. Elle doit représenter l’importance de la démarche
artistique ou un sentiment de l’artiste. L’honneur et la
signification sont les deux attributs positifs. En tant
qu’artiste, nous devons être nos propres critiques. Nous
devons élever nos œuvres jusqu’à un très haut niveau,
même avant de débuter le travail.
Une petite anecdote du temps de mes études à
Ontario College of Art démontre dramatiquement bien
ce principe. Lors de la journée critique finale, nous
devions sélectionner nos meilleures pièces et les installer
dans une galerie. Le directeur du département de verre,
Karl Schanz, est arrivé pour faire la critique. Nous
étions tous très stimulés pour cet évènement important,
un peu nerveux évidemment mais fiers de notre travail
de fin de session. Après tout, ce que nous exposions
était, selon nous, la crème de notre travail ardu des
derniers mois. Karl est entré dans la galerie avec une
grosse poubelle et un gros tuyau en métal. Nous étions
craintifs car ce n’était pas ce qu’il apportait d’habitude
pour la critique. C’est alors qu’il nous a avisés que nous
devions choisir les deux meilleures pièces de notre production et devions jeter le reste dans la poubelle ! Nous
étions dévastés par ce triage forcé de nos meilleures
pièces. Quelques-uns d’entre nous étaient au bord des
larmes. L’objet de sa démonstration, éloquente, est de
nous faire réaliser que nous faisons une grave erreur en
rendant nos pièces trop précieuses, car nous perdons de
vue la recherche de la qualité et de sa signification. Cet
événement est survenu il y a 20 ans mais je n’oublierai
jamais l’importance de ce message. En y pensant, peutêtre pourrait-on tous bénéficier d’avoir une poubelle et
un gros tuyau dans le coin de notre atelier pour nous
rappeler qu’il faut toujours rechercher la qualité dans
notre travail.
Il y a quelques temps, j’ai lui un passage dans un
livre* qui illustre avec éloquence les caractéristiques des
objets fait à la main pour leur accorder une place unique
dans la société « La qualité de la pièce finale doit toujours contenir l’écho de la voix de son artisan, retenir le
tremblement de ses mains et des molécules de sa respira-
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Page 27
tion ». En intégrant ces qualités dans notre travail nous
garantissons la valeur et la signification qui accorde une
place positive dans la société.
* Measure of love (L’instrument horizontal) – Christopher
Wilkins
Ben Goodman vit et travaille sur l’île Saltspring sur la côte
ouest de la Colombie-Britannique. Il a reçu son diplôme de
l’Ontario College of Art en 1990. Il a été président du conseil
d’administration du GAAC de 1994 à 2002 et éditeur de la
revue du GAAC de 1994 à 2004. Ces temps-ci, Ben s’adonne à
l’art intellectuel et mental plutôt que physique. C’est sa contribution
pour éviter d’ajouter à la société de consommation. C’est probablement une période naturelle d’ajustement que tous les artistes doivent
traverser à un moment ou à un autre de leur vie créative.
Photos by Art Smith Photography
Chandelier Dress Susan Taylor
Glasgow 2009. Fused,
slumped, sewn glass, found
chandelier parts, metallic
ribbon, candles. On display at
the Glass Fashion Show at the
Glass Art Society conferences,
Corning NY Museum of Glass,
June 10-14, 2009.
The Glass Fashion Show is at
8pm June 13th in the Corning
Museum of Glass Auditorium.
Canada Council for the Arts: 10th Anniversary of Governor General's Awards in Visual and Media Arts
Kevin Lockau 2009 Saidye Bronfman Award
The Saidye Bronfman Award, which recognizes excellence in the fine crafts, is part
of the Governor General's Awards. It is
funded from the proceeds of a $1.5 million
endowment given to the Canada Council
by The Samuel and Saidye Bronfman
Family Foundation in 2006.
"The works of our artists do more than
just bring a little colour and beauty into
our lives. They cast a new light onto our
world so that we can observe it and contemplate it in ways we might never have
imagined. Let us pay tribute to these
pathfinders who guide us to look beyond
the horizon," said the Governor General.
"Each of this year's winners has had a
significant impact on the Canadian arts
scene," noted Canada Council Chair
Joseph Rotman. "Their creativity is not
only seen in galleries and homes across
the country and around the world but in
the cities where we live and work. The
diversity of their work and their dedication to their art speaks volumes for the
depth of artistic talent in Canada today."
Kevin Lockau has transformed the landscape of Canadian glass art. Over his
career, he invented three hot glass casting
techniques, producing a unique material
from which he creates his fascinating sculptures that combine animal, natural and
human forms. In addition to his contributions as an artist, he played an important
role in developing the glass studio at
Sheridan College in Oakville, Ontario,
where he taught for 20 years. A founding
member of "10 North," a group of
Canada's pre-eminent glass artists, he has
received numerous bursaries and awards.
His work is represented in a number of
public and private collections and has been
exhibited in Canada, the United States,
France, Finland, Germany and Sweden.
Kevin Lockau currently lives in Bancroft,
Ontario.
To be nominated for one of the artistic
awards, candidates must have created an
outstanding body of work and have made
a significant contribution to the development of the visual or media arts over a significant period of time. Nominees for the
Saidye Bronfman Award must have made
a substantial contribution to the development of crafts in Canada over a significant
period of time.
27
CCG spring 1 2009
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Page 28
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New glass kilns
Paragon Industries has just released
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The new kilns incorporate a number of subtle changes and two major
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"The relays work hard in a glass kiln,"
said John S. Hohenshelt, company
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thick, large pieces. The mercury displacement relays last much longer
than the mechanical type, because
the MDR relays have no moving
parts."
Paragon has also introduced power
ratio technology in their new glass
kiln series. The feature comes with
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"The heat can be adjusted
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"Power ratio eliminates the infinite
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For more information contact
Paragon: 800-876-4328 /
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2011 South Town East Blvd.,
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The Online Art Community
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Call for submissions
RBC Award for Glass
A national award for glass, juried competition.
Are YOU using the
power of social networks to
promote and sell your art?
Deadline: Received by July 31, 2009 by 5pm
Have you been working professionally in glass for between 5
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practice. The winner can undertake a period of independent
research or other activities. Award is $7,000
For more information & applications
www.canadianclayandglass.ca/2008/Awards announcement
Send application to:
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28
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CCG spring 1 2009
4/6/09
4:09 PM
Anti-Shatter Coating
His Glassworks, Inc. is proud to introduce Flex-Tec Anti-Shatter coating.
This two part material is a UV stabilized coating for glass installation
pieces that will prevent glass from
shattering outward when broken. The
UV stabilization keeps the material
water clear for the life of the product
so installation in direct sunlight is not
an issue. Flex-Tec will meet or
exceed many safety requirements for
installed glass pieces and will not
amber or mar the appearance of your
work. www.hisglassworks.com
Page 29
pictures of all these colors.
All the new two color Streakies are
available in Frit! Look for 12-00-90 a
New Clear Streamer, it looks icy cold
and is a fistful of clear streamers
floating on clear glass.
12-56-90 is their New Black
Streamer Bits on Clear, organic, wriggly , black streamer bits floating on
Clear glass. All tested compatible
and available now.
www.glasscolor.com
or call 800-445-7742.
New Colours
New Fusion FX Colour
Release
TM
New FX 90 Streaky Series has 15
tested compatible color combinations
to play with: Cobalt Blue, Orange,
Grenadine Red, Fern Green, Black
and Chocolate Brown are available
two different ways mixed with Clear
for a rich, simple splash of color or
mixed with White Opal for drama.
Their website, www.uroboros.com has
quick on/off control at the nozzle. The
pressure vessel stays pressurized until
manually depressurizing. Keeping the
pot under constant pressure helps
reduce high volume usage of air and
wear and tear on the air compressor,
also media costs are proven to go
down. This customized blasting pot is
user friendly and inexpensive to
maintain and operate.
Manus Abrasive Systems Inc.
www.manusabrasive.com
Romote Controlled Pot
A normally closed system designed
for the glass etching/carving industry
that enables the operator to have
Olympic Color Rods is pleased to
announce the arrival of 14 new color
additions to the Reichenbach 104
COE Lampworking line. New color
names include: Pearl Violet, Mystic
Blue, Mystic Yellow, Mystic Orange,
Pearl Pink, Mystic Red, Mystic Coral,
Pearl Beige, Crystal Soft, Ocean,
Antique Green, Soft Violet, Amber,
and Porcelain. With this addition,
the Reichenbach 104 COE line has a
total of 49 colors. For more
information, please visit:
Bullseye's new product catalog,
Bullseye Glass for Art and
Architecture: Catalog 6, is now available. Its 72 full-color pages display
products for stained glass, kilnforming, kilncasting and torchworking.
Featured are new sheet glasses, frits,
rods, tools, books and supplies, plus
short technical articles and finished
examples. More than just a product
catalog, it's a resource to be used all
year round. www.bullseyeglass.com
29
CCG spring 1 2009
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Page 30
FROM THE GAFFER’S BENCH
By Blaise Campbell
More Punty Talk.
Crown punty on I inch diameter rod.
For some things you want the rod to be
then the inside or the inside hotter
Having the rod ter
hot, sometimes medium, sometimes cold.
then the outside.
You have to be aware of how the tempera- you gather
It seems there are as many different
ture affects what you do. If, for example,
types of punties as there are glassblowyou are making a small, delicate and thin
ers. And there are as many opinions on
on the right
cup, you will need to make the punty with
what is the best. I’m not here to tell
a very small gather of glass on a small rod. temperature
what is best but to state that if what
A common mistake is to gather on a punty
you do works for you then that’s great,
rod that is not hot enough. For a small punty, you
but it is important to understand why it works and
need a very small amount of glass, and if the rod is
also that there is really no good excuse (other than
cold, it will take a lot of the heat away from the inside lack of experience) for loosing work to poor punties.
of the gather and then if you go to the marver to
Sure we all loose pieces from time to time for lack of
shape the punty, you take the heat away from the out- focus or bad mojo, but if you are loosing pieces time
side of the gather so that tiny mass of glass freezes
and again with no cure in sight, you need to develop
very quickly. You end up not having enough time to
some awareness.
shape the punty and get a good shape because you
There are fundamental forces at play that you conlose the heat so quickly. As a result, you end up
trol and you need to be aware of the “cause and
spending more time at the glory hole trying to get the effect” of your relationship to them. Keep in mind
punty hot.
that every situation is different and variables are conWhen you are learning how to make punties, you
stantly changing. This is perhaps the frustration and
generally spend a little more time shaping so it is a
the allure of hot glass. It’s all very decipherable and
good idea when working with smaller bits of glass to
predictable if you take the time to question and to
have the rod a little hotter. On a bigger punty where
look. Once you can begin to apply this understanding
there is more mass, if you gather too hot you run into you can become more confident in what you do. You
the problem of having to wait for the glass to cool
can relax and slow down when things heat up. The
down on the inside. It can also result in a lot of
best glassworkers keep calm because they are in conmovement in the punty when you attach it to the bot- trol of the situation and can predict what the glass will
tom of a piece, which is not always desirable. The
do because they know. This basic state is the key to
whole issue here is having the temperature right, what realizing your potential. Next time, we will look at
I refer to as skin heat and core heat. These are two
two or three very different punty situations and break
different things, where the outside temperature is hotthem down for you.
30
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CCG spring 1 2009 - Harris Media Group

Transcription

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