Sibylle Peretti a German-born artist who renders nature-inspired dreamscape will unveil a new body of work at her upcoming exhibition entitled "It Was Such a Beautiful Promise," where she explores a world of complex relationships and issues of survival. Exhibiting at Callan Contemporary in New Orleans from May 4 to June 25, 2017, Peretti’s glass panels are a continuation of her previous work, The Land Behind, where she explored the affects imagination has on creating space. Compared to her earlier work, which exhibits similar themes, the glass artist evolves her use of external symbols, (i.e., bees, vegetation, and crystals) to a different found object: pearls.
Viewing: Artist Interviews
Rui Sasaki is a Japanese conceptual glass artist and educator who, in recent years, has gained international notoriety for her ethereal and sometimes surrealistic work. She completed her MFA at Rhode Island School of Design in 2010 and has since been invited to participate in many artist-in-residence programs and exhibitions all over the world. Last month, Sasaki wrapped up a month-long residency in Stockholm funded by the Swedish Arts Grants Committee, and she has three major exhibitions opening in the coming months: “Inervals between Nature and Artifact” curated by Koichi Yoshimura in Osaka, Japan, “The Poetics Of Weather” on view at a historical temple in Hoen-ji in Kanazawa, Japan, and “Young Glass 2017” at Glasmuseet Ebeltoft in Ebeltoft, Denmark. Beginning in April, Sasaki will work as a faculty-member at Kanazawa Utatsuyama Kogei Kobo in Kanazawa, Japan, the traditional craft epicenter of the eastern world. Recently, the GLASS Quarterly Hot Sheet had the opportunity to discuss Sasaki’s work and source of inspiration with the artist herself via an email conversation.
GLASS Quarterly Hot Sheet: How have your travels influenced your work and general aesthetic?
Rui Sasaki: I've been traveling a lot, especially since March 2016. Perceiving different aesthetics in foreign places forces me to question my own concept, process, and vision when I am back home. Experiencing different environments is vital in recognizing the subtleties hidden in everyday life. My travels help me to create refined, nuanced concepts. Weather as a theme is one example of this: I don’t realize how physically and mentally essential sunshine and rain are when I’m not in Toyama.
Glass artist, Sarah Mizer, explores polarization, overindulgence, and nostalgia in her exhibition "Of Most Excellent Fancy," on view through April 1, 2017 at a project space in Laurel Park, North Carolina, that is the contemporary art component of a novel retail wine market called the Crate Project. Drawing inspiration from Vanitas Dutch still life imagery, and dialog from Shakespeare’s Hamlet, Mizer created three groups of art forms that reside on individual walls. Each set of works evoke a sense of conflicting ideas, such as life and death, like Vanitas imagery, while incorporating her own experiences from her time as an artist residence at the Penland School of Crafts. In these three questions, Mizer expands on how her botanical studies mesh with 17th-century sources of inspiration.
GLASS Quarterly Hot Sheet: What are you working on?
Sarah Mizer: When asked what am I up to I get excited to sum it up so simply: travel. Though based in Richmond, Virginia, travel is an important factor in generating imagery. “Of Most Excellent Fancy”, the show mounted at Crate Project in Laurel Park, North Carolina came to fruition while in residence at Penland just at the start of the new year. At Crate, you will see work mostly comprised of Penland plants rejoined as brittle and precarious still lifes. I was at Penland for their Winter Residency so the imagery is droopy, cold, and a little anemic. Meanwhile today on the schedule (worlds and seasons apart from Penland), I'm trying to find a birthday present for my mother somewhere in the souk while visiting Doha, Qatar. I'm here for a week and have some time today before the opening of “form(force)”, a juried exhibition of VCU faculty work fitting into the theme of "Analog Living in a Digital World." My contribution to the show is a still life construction titled "Sweet and Bitter at the Same Time". This work is a still life piece which incorporates a digitally printed lemon, glass, light, and faux greenery that has been resurfaced with a white coat. To be in such an arid desert landscape with a piece that is comprised of counterfeited imagery as a stand in for lush nature, it's all so surreal.
Towering, taut, and ornate, 130 exquisitely blown glass works are currently on view at the Museum of Glass in Tacoma, Washington, where they will remain through October 15, 2017. These are the fruits of a four-year collaboration between master glassblower James Mongrain and patron and prominent collector George R. Stroemple. Organized into four groupings entitled the Adriatico, Atlantis, Poseidon, and Arcobaleno series, the works result from Mongrain's extremely disciplined approach to traditional Venetian glassblowing techniques, and represent his response to the more than one hundred 19th-century Venetian glass objects in Stroemple's collection, which are also displayed in the exhibition. This show is an homage to the traditions that inspired Mongrain to devote his career to mastery of the techniques and aesthetic rules of this historic high-water mark for glassblowing skill.
Last week, the Massachusetts College of Art in Boston unveiled a public artwork made up of more than 10,000 individual glass droplets. Installed in the atrium of the art college's Design and Media Center on campus, the project was the culmination of an innovative interdisciplinary course taught by independent artist and visiting professor Dan Clayman. A group of MassArt students worked alongside the Providence-based artist to realize this the work entitled Rainfield, which marks the single largest-scale installation realized by Clayman. In an exclusive interview with the GLASS Quarterly Hot Sheet, the artist explains how the project came about and how it was realized.
GLASS Quarterly Hot Sheet: You've already published an autobiography, No Green Berries and Leaves (McDonald & Woodward, 2007), and a manual for artists entitled Spark the Creative Flame (McDonald & Woodward, 2013). What inspired you to come out with Studio Craft as Career (Schiffer, 2016) and how does it differ from your first two books?
Paul Stankard: Well, my first book was a memoir, and the second one was a guide to finding and renewing motivation. But I decided to write this book because I was hearing so many people trying to make it as artists who believed it was all about who you knew. I wrote this book to say 'Wait a minute, it's not who you know, it's all about the work.' I wanted to give people a way to educate themselves about what excellence is, and to hand over tools for self-directed learning. People who read this book will hopefully think about how they need to see themselves in competition, not only with the best work in the contemporary realm, but also the best work that has come before. It's about studying the best work that's been done in your field and engaging in a dialog with it — to understand it, and to respond to that work in your own unique way.
The complex relationship between the human and the natural worlds is rich territory for an art gallery set in the town of Waitsfield, Vermont, with its long history of forestry and agriculture. Through mid-October, art dealer Stephanie Walker has turned over her Walker Contemporary gallery space to an exhibition entitled “What Have We Done?”, which examines artists “grappling with the often precarious human versus nature relationship,” according to the gallery’s website. Among the five artists with work on display is the native-born Charlotte Potter, who grew up in Waitsfield before embarking on a notable career as a multi-media artist with a focus on glass. Holding a 2010 MFA from the Rhode Island School of Design, Potter is currently the studio manager/program director of the Chrysler Museum of Art’s Glass Studio, in Norfolk, Virginia, and her evolving artwork is represented by New York City's Heller Gallery. Potter's glass deer and elk antlers have actually been incubating in the artist’s mind and studio practice since 2008, and are recontextualized by showcasing them alongside paintings and drawings in which, as the gallery puts it, humans’ “meddling interference in the natural order of things…takes center stage”
The recent passing of Klaus Moje (1936 - 2016), who died at the age of 79 on September 24, 2016, after a protracted illness, has unleashed a global outpouring of grief and appreciation. Honored for his disciplined approach to technique and visionary work taking kiln-forming into the fine-art realm, Moje's impact on the glass art field is immeasurable. Celebrated as an artist, Moje was also hugely influential as an educator, and created the glass program at the Canberra School of Art, which has since been incorporated into the Australian National University's College of Arts and Social Sciences. Consciously not opening with a hot glass furnace, Moje designed the program in 1982 with a radically different approach than most glass education facilities in the world. In honor of Moje's legacy, the GLASS Quarterly Hot Sheet is republishing an article from the Spring 2005 print edition (GLASS #98) that provides unique insight into the founding of the Canberra program. In the article below, Moje shares his singular perspective on not just education but what it takes to become an artist.
Cappy Thompson, known for her folk-art-inspired reverse paintings on glass that explore contemporary themes, has been experimenting with engraving for the past few years. It's been a departure for Thompson, who is an expert grisaille painter, a process where a first-layer of enamel in gray tones is followed by second firing of brightly colored enamels, to create figurative works. Though grisaille involves the removal of an initial coat of gray color, most of Thompson's work was based on layering enamels onto glass to create densely colored surfaces. But etching into glass had been on Thompson's mind since a 1990 trip to then-Czechoslovakia, during which she was intrigued by acid etching using a resist. "It looked like ice that had been melted," Thompson remembers. The dangers of working with highly corrosive and toxic etching acids kept her from ever pursuing this technique at home. However, while she was teaching at Corning in 2012 with master engraver Max Erlacher, she became entranced by the possibilities of wheel-cutting glass. Her friend and fellow artist Charlie Parriott helped her acquire a lathe from the Czech Republic, and she was able to learn from April Surgent and two Czech master engravers during a Pilchuck residency. The GLASS Quarterly Hot Sheet recently caught up with Thompson for a telephone interview as she prepared an artist's talk at Traver Gallery scheduled for this evening to talk about this bold new direction for the work in her current exhibition "Bright Blue Light."
A new Norfolk, Virginia, residency collaboration between The Chrysler Museum of Art, Glass Wheel Studio, and the Rutter Family Art Foundation, has culminated in “Between Further and Farther,” an exhibition currently on display at the Rutter-family-owned gallery and nightclub, Work|Release. Mixed-media artist Sarah Blood — the first recipient of the New Energy Artists Residency (NEAR) — used her residency to wrestle with ideas of actual and perceived distance and explore different ways to engage with the form of the paper airplane. The outcome, “Between Further and Farther,” incorporates mixed-media sculpture, large-format photography, video, and performance. Art goers of the Hampton Roads area can view the exhibition at Work|Release until September 24th.