2012 Summer Program Course Catalog

Student, scholarship, TA, and AA applications due February 13th; after due date student applications continue to be accepted until courses fill.

1PILCHUCK.COM 2012 SUMMER PROGRAM COURSE CATALOG

PILCHUCK 2012PILCHUCK GLASS SCHOOLSUMMER PROGRAM COURSE CATALOG

PILCHUCK.COM



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MAY 7 – 18 Pre-session is a special time at Pilchuck; it initiates a summer’s worth of collaboration, experimentation, and fellowship, and sets the tone for a memorable summer of learning and transformation! The intimate artistic community formed during pre-session includes a reunion of the inaugural Hauberg Fellows from 2001 and over twenty-five volunteer artists form the Poleturners Union to create one hundred centerpieces to grace the tables of the Pilchuck Annual Gala Auction on October 12, 2012.

From its inception, the JOHN HAUBERG FELLOWSHIP was established to provide a group of artists a collaborative opportunity to investigate new technical and creative territory on a mutually determined project or process. In 2001, then-Artistic Director Ben Moore assembled Robert Carlson, Walt Lieberman, Paul Marioni, Charlie Parriott, Cappy Thompson, and Dick Weiss, as the very first Hauberg Fellows. They have been invited back to reunite as the Hauberg Fellows of 2012 and, as longtime friends and colleagues, continue to inspire each other through explorations of narrative, meaning, and technique in the application of imagery on glass.

A group of volunteer artists known as the Poleturners Union will work together May 4–18 to create more than one hundred centerpieces for Pilchuck’s 2012 Annual Auction. To volunteer as a Poleturner apply at Pilchuck.com under Opportunities by February 3, 2012.



BOYD SUGIKI & LISA ZERKOWITZ met at Rhode Island School of Design, where Sugiki earned his M.F.A degree and Zerkowitz earned her M.A. degree. Sugiki creates finely crafted functional pieces as well as sculptural work inspired by his travels. He exhibits and teaches internationally and is represented by Traver Gallery in Seattle. Zerkowitz’s blown- and kiln-cast-glass objects evoke memory and landscape and are strongly influenced by the stark contrast between her native Los Angeles and her current home in the Pacific Northwest. She has exhibited her work at Bellevue Arts Museum, the Museum of Northwest Art in La Conner, Washington, and Tacoma Art Museum. Together, Sugiki and Zerkowitz produce a line of studio glass under the name Two Tone Studios in Seattle.

Breaking It DownIn this course, students who are skilled at blowing glass on center will learn to work on a delicate scale. The objective is to break down processes and rebuild them through fundamental and well-executed steps in order to develop a systematic understanding of how types of blown-glass objects are made. With proper repetition of the steps, students will become efficient at refining basic forms such as tumblers, bowls, and bottles. The ability to replicate forms then makes it possible to use form as a point of departure and encourages the evolution of creative aesthetics. Visiting artists and studio visits will further illustrate what’s involved in being an artist and a glassblower.GlassblowingB / Intermediate

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MAY 7 – 18



KAREN WILLENBRINK-JOHNSEN is renowned for her ability to express naturalistic forms in glass. Her work is the result of countless hours of observation, years of glassworking experience, and a love of nature. She has received numerous awards and is featured in museums worldwide.

JASEN JOHNSEN’s ingenuity as a maker is demonstrated in his series of hot-sculpted glass musical instruments and his handcrafted hot-sculpting tools. Johnsen and Willenbrink-Johnsen have collaborated for twelve years and taught countless workshops in Australia, Canada, Japan, Scotland, and all over the United States.

Experience is Education This intensive hot-glass sculpting course will present experimental ways of drawing and creating texture with glass frits and powders, torchwork, and customized tools that will help students render items in glass realistically. Sculpting blown and solid parts will be taught with a focus on teamwork and the use of the hot garage to construct with parts. Students will spend time on creative thought processes as they develop their own dialogue with glass using a newly introduced vocabulary of form and technique. Visiting Pacific Northwest artists will also contribute to the class experience. Three years of hot-glass experience plus hard work, perseverance, and fun required!

Hot-glass SculptingB / Intermediate–Advanced

MAY 21 – JUNE 1

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An American artist with an M.F.A. degree from the Ohio State University, ROBERT WILEY lives in Portugal and teaches glass in the VICARTE research unit at the Faculty of Sciences and Technology of the New University of Lisbon. He is among an international group of artists and scientists involved in research with glass that focuses on understanding the nature of creativity and the similarities and differences between art and science. Wiley’s collaborative projects are funded by the Portuguese National Science Foundation and explore new physical and visual capabilities of glass with advanced glassworking technologies.

MAY 21 – JUNE 1

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Knowing GlassArtists are drawn to the optical qualities of glass because it is a demanding and mysterious material that requires curiosity and experimentation to master. In this course, students will easily grasp the systematic method of glassworking while learning about the behavioral, optical, and physical qualities of various glasses under a variety of exploratory conditions. Understanding innovative twists to freehand shaping mold blowing, tool use, and torchworking will help students engage in dialogue about the material based on individual exploration. Students will gain confidence in their abilities with this unique introductory approach to hot glass, aided by discussion, demonstrations, and daily practice.

GlassblowingB / Introductory



LANCE FRIEDMAN believes that art is the process of asking better questions, challenging conventional wisdom, and overturning assumptions that stand in the way of new possibilities. He seeks to restore a visual sense of wonder to an increasingly jaded public consciousness. Friedman’s work is held in private collections and in the permanent collections of the Corning Museum of Glass and the Tacoma Art Museum. He has been an instructor at Aichi University in Japan, Alfred University, The Ohio State University, and The School of the Art Institute of Chicago. Friedman has owned and operated Shatter Glass Group Inc., in Chicago, for the past twenty-five years.

MAY 21 – JUNE 1

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Multiples & Mixed MediaThis course is perfect for artists who seek a bridge to building skills and working more sculpturally or who want to build on their current ideas with glass. Emphasizing connections between objects and lines of thought, assignments and exercises will focus on working sculpturally and conceptually by conjoining multiple forms in hot glass. Featured techniques include hot joining via the garage, welding with a torch, and making cold connections using fastening or adhesive media. Through demonstrations, lectures, discussions, and critiques, each student will learn how to form and execute ideas while integrating glass with other found or fabricated materials. One to two years of glassworking experience required.

Hot-glass SculptingB / Intermediate



SALLY PRASCH has a background in both scientific glassblowing and fine art. Her expertise at the torch represents harmony between the strictly systematic and the human spirit. She received a B.F.A. degree in glass from the University of Kansas and an associate’s degree in applied science and a certificate in scientific glass technology from Salem College, New Jersey. Since then, Prasch has conducted glass workshops worldwide, is currently working at Syracuse University as a scientific glassblower and glass instructor, and operates her glass studio, Sally Prasch Glass, in Montague, Massachusetts.

Art, Industry, & Science In this course, the potential for blending artistic and scientific flameworking techniques will enable students to explore form, color, and technique for personal expression. The course will cover the basics—bending, fusing, simple sculpting, color application, annealing, and design—and then explore more complicated deviations in flameworking, including lathe work and neon. Discussions will cover merging other materials with glass, glass in industry and science, the chemical composition of different glasses, and how these concepts may motivate artistic ideas. Class demonstrations and one-on-one instruction will give students the opportunity to merge technique with personal discovery and self-expression.

Flameworking C / Experience Varied

MAY 21 – JUNE 1

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ALICIA LOMNÉ employs an innova-tive style of the pâte de verre process in creating her exotic and delicately structured hollow glass objects. She incorporates color schemes, forms, and textures often associated with organic life, reinterpreting it into curiosities that might inhabit an alternate world. Lomné exhibits at many prestigious venues, including Bullseye Gallery in Portland, Ken Saunders Gallery of Chicago, and Pacini Lubel in Seattle. She teaches ex-tensively throughout the United States, including at Bullseye Glass Company and Penland School of Crafts, as well as in Australia, Denmark, and Switzerland.

MAY 21 – JUNE 1

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MicrocosmosPâte de verre is a meditative process that offers the opportunity to create delicate glass objects and vessels with various colors, textures, and forms that express each individual’s personal vision. Students will make one-part open-faced molds that will be carefully packed with crushed glass and kiln fused. The course will explore color using powder, frit, inlaid designs, and inclusions. Students will learn firing schedules specific to particular effects and applications, make tools, and cold finishing with the belt sanders, Dremel™ tools, and diamond sponges. Documentaries featuring underwater worlds, as well as the images of Ernst Haeckel and Karl Blossfeldt, will offer inspiration for exploring the organic potential of pâte de verre.

Pâte de VerreC / Experience Varied



MAY 21 – JUNE 1

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ARTISTS IN RESIDENCE

In thirty-five years as an artist, JAMES DRAKE has worked in video, photography, sculpture, drawing, and printmaking. His work tensely explores the liminal, or the threshold of boundaries, and the animal nature of human behavior, contrasting the forces of savagery and sympathy. He has had more than sixty solo shows and participated in prestigious group exhibitions, including the 2000 Whitney Biennial and the 2007 Venice Biennale. Drake is the recipient of a Guggenheim Memorial Foundation Fellowship, a Nancy Graves Award for Visual Arts, and two grants from the National Endowment for the Arts. His work is in more than thirty museum collections, including those of the Museum of Fine Arts, Houston, and the Whitney Museum of Art.

Although NICOLAS AFRICANO’s work displays an air of classicism in its human subject matter, it is a contemporary reflection on figurative representation. His kiln-cast sculptures are as much about identity and gender roles as they are about beauty in its most sincere form. While graceful repose and anatomical accuracy motivate the visual essence of Africano’s sculpture, his interest resides in the hidden—what cannot be told and what seems unspeakable. Africano has an exhibition record that extends over several decades and has shown in many notable galleries. His work is held in the permanent collections, including the de Young Museum in San Francisco, the Museum of Modern Art in New York, and Neuegalerie-Sammlung Ludwig in Aachen, Germany.



JAMES MONGRAIN was introduced to glass at Minnesota State University Moorhead and later studied at the Appalachian Center for Craft and Massachusetts College of Art and Design. He has worked on many projects with Dale Chihuly, beginning with Chihuly Over Venice, in 1993. In 1997, he opened Mongrain Glass Studio in Mukilteo, Washington. Mongrain has worked with such artists as Jim Dine, Jeff Koons, Kiki Smith, and Robert Wilson. He exhibits nationally, and his work has received much recognition, including a nomination for the 1999 Louis Comfort Tiffany Award.

Goblets: Form & ContextVisual education often begins with imitating in order to learn. American glassmaking aficionados copy historical forms in order to learn new ways of seeing form and making their art. Perfecting the venerable Venetian tradition of delicate flourishes in goblet making is an excellent foundation for accomplished glassmakers who wish to advance their design and making abilities. While immersed in questions of function, design, and technical efficiency, students will gain thorough and intensive experience with methods of hot construction, bit work, teamwork, and use of the garage. Discussion, visiting artists, demonstrations, and exercises will help each student define a personal voice within a long-standing craft tradition. A minimum of three years of glassblowing experience required.GlassblowingB / Advanced

JUNE 4– 15

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MARTIN JANECKÝ began working with glass in a Czech factory at the age of thirteen. In 2003, he made his first trip to the United States, to visit and demonstrate at various glass programs such as The Studio at the Corning Museum of Glass, Penland School of Crafts, and Pilchuck. Janecký’s expertise has developed along with his interest in the expressive potential of pantomime and circus performers, as is evident in his poignant and expressive figurative sculpture. Janecký is represented by the Habatat Gallery in Royal Oak, Michigan, and has exhibited his work in galleries and museums all over the world.

JUNE 4– 15

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Figurative SculptureAny form can be realistically rendered in glass when reduced to basic shapes using a methodical approach. This hot-sculpting class will enable each student to examine shapes of interest, imagine them structurally broken down into parts, and then develop the techniques necessary to re-create them at the glassworking bench. Students will learn how to approach sculpting glass as they are introduced to the use of various torches, intricate bit work, components using the hot garage, and teamwork. Through sketching, practicing, and observing demonstrations, students will acquire a variety of shaping techniques and tricks for color application that will add a sense of realism and humanity to their work. Hot-glass SculptingB / Intermediate–Advanced



Toronto artist SALLY McCUBBIN immerses herself in the global community of art and design and incorporates innovative and creative thinking into her objects, public art and community building, teaching, and learning. She is managing editor of the online edition of Contemporary Canadian Glass and is a glass instructor at Sheridan College. She recently opened Elevator Art Lab, a work and gallery space that hosts twelve artists in Toronto, and is a founding member of the Vest Collective, a multidisciplinary art and design group. McCubbin co-founded Timid Glass Toronto, a company that reflects her enthusiasm for environmentalism and conservation.

Think, Make, Repeat!Students will participate in daily drills in the hot shop, where they will gain an understanding of the fluid physics of glass and the potential for form. Observing and drawing will help students who are new to glassblowing imagine functional and non-functional objects and begin to understand how to accomplish their concepts. As an introduction to glassblowing and coldworking processes, this course will emphasize practicing, prototyping, and realizing ideas in glass as a designer. The instructor and teaching assistants will demonstrate students’ concepts as lessons in the glassblowing, design, and production processes. Students will develop personal strengths that lead to honest beauty in finished work. Glassblowing, Coldworking, DesignB / Introductory

JUNE 4– 15

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Inspired by her observations of nature, KATHLEEN ELLIOT has developed a series based on imaginary botanicals. Her fantastical take on the plant world is a creative reflection on the nature of “reality.” Elliot’s practice is influenced by her background in applied philosophy, linguistics, and alternative spiritual disciplines. This accomplished flameworker is based in California and has had exhibitions at the Kentucky Museum of Art and Craft in Louisville, Micaëla Gallery in San Francisco, the Triton Museum of Art in San Jose, California, and Traver Gallery in Tacoma.

JUNE 4– 15

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TransflamationsStudents will create a personal vocabulary of natural forms and metaphors as they build objects from components using basic borosilicate flameworking techniques. Drawing inspiration from their own life experiences and observations, they will design and create small solid and blown glass components that will be assembled into larger, imaginatively organic structures. Visual exploration of form, surface, color, scale, and balance through various techniques and processes will enable students to express individual ideas. With the theme of the course rooted in personal growth and creative development, instruction will encourage students to blend self-reflection, observation, and experimentation of the poetic potential of the torch.Flameworking C / Experience Varied



Recipient of the Prague Glass Prize in 1991, IVANA ŠRÁMKOVÁ was also a student in Stanislav Libenský’s final class at the Academy of Applied Arts in the Czech Republic. Her glass sculptures distill animal and human figures into primal symbolic forms, projecting a radiant essence of color and light. Šrámková’s work has been exhibited in Europe, Japan, and the United States and is held in the collections of museums such as the Corning Museum of Glass, the Museum of Modern Art in Lausanne, Switzerland, and the Victoria and Albert Museum in London.

JUNE 4– 15

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HumAnimalsThe aim of this kiln casting class is to develop glass objects based on abstracted and symbolic human and animal figures. Students will learn how to create sculptural objects that harmoniously combine found items and created shapes that serve their ideas. Exercises will include the creation of sculptural models from paper, clay, and wax supplemented by natural or industrial elements. Through this process, students will discover which components of their work are most suitable to cast in glass. Discussions and demonstrations will provide each student with a thorough understanding of the kiln casting process, finishing options in the cold shop, and the thoughtful integration of glass components within the overall sculpture.Kiln CastingC / Introductory



JUNE 4– 15

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ARTISTS IN RESIDENCEJEFFREY MONGRAIN’s meticulously crafted and arranged sculpture informs the symbolism a viewer may perceive in everyday objects. A Night’s Breath, a sculptural pillow form based on European cryptal statuary, holds the bowl-like impression of a resting head. Within that impression lie nine and a half ounces of water, the amount of moisture a man respires over eight hours of sleep. Scientific findings and religious philosophy are the conceptual foundations of the work Mongrain exhibited at the 2011 Incheon Museum Biennial in Gyeonggi-do, Korea, and the 2011 Museum of Modern Art Bienniale in Ljubljana, Slovenia. His work has been reviewed in publications such as Art in America, ARTnews, and the New York Times. Mongrain has been a professor of art at Hunter College in New York since 1995.

Bridging the potential gap between design and sculpture, JORGE PARDO fused sculpture and cabinetry into wavy wooden cases for the 2008 reinstallation of the Los Angeles County Museum of Art’s exhibition Art of the Ancient Americas, a display of pre-Columbian ceramic artifacts. His attention to craft and his color combinations bring vibrancy and a sense of dynamism to the things and places that are part of our daily lives. Pardo’s sculpture and design engage viewers universally, questioning the distinction between the two and delighting the eye. His paintings, sculptures, and installations have been exhibited at the Irish Museum of Modern Art in Dublin and the Museum of Contemporary Art, Los Angeles, among others. Pardo lives and works in Los Angeles, has received the Smithsonian American Art Museum Lucelia Award, and was a MacArthur Fellow in 2010.



Inspired by a lifelong fascination with science and technology and a creative notion of space travel, RIK ALLEN creates a nostalgic sense of adventure with sky machines and cosmonauts that combine blown glass and fabricated metal components. He has had numerous solo exhibitions, including Innersphere at the Museum of Science Fiction in Seattle. SHELLEY MUZYLOWSKI ALLEN approaches her sculpted glass from a background in oil painting and an interest in the iconographic nature of animals. Her most recent solo exhibition, Pentimento, was held at Blue Rain Gallery in Scottsdale, Arizona. Allen and Muzylowski Allen have taught internationally at the Toyama City Institute of Glass Art in Japan and throughout the United States. They share glass and sculpture studios at their home in Sedro-Woolley, Washington.

Construct-O-TronIn this course, students will extrapolate molten- and frozen-glass sculpture processes to expand creativity exponentially. Hot-sculpting techniques, assembly using the garage, and graal work will be among many hot-shop processes presented as students reconsider the construction, formal arrangement, texture, and coloration of their future “glassterpieces.” With the coldworking techniques they learn, students will create objects from the deconstruction and reassembly of previously made forms. Collective experience will be built with teamwork and fun. Being prepared to work hard on assignments, carefully observing demonstrations, and actively participating in discussions will help students get the most from their ideas. Hot-glass SculptingA / Intermediate

JUNE 19– JULY 6

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DAVIDE SALVADORE is a Muranese maestro descended from generations of glassworkers. He has collaborated with glass houses such as Venini, Barovier & Toso, Nason & Moretti, and La Murrina. Salvadore creates one-of-a-kind sculptures that push the boundaries of centuries-old Italian techniques. His work reflects diverse influences ranging from African tribal imagery, to Muranese roadways, and even to the smokestacks of glasshouses. He says, “I encourage my audience to have a real encounter with each piece. I want them to touch it, to caress it, and to understand the shapes and movements. Simply, I want the enthusiast to experience what I feel for my art—passion and love.”

JUNE 19– JULY 6

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Muranese Cane & MurrineStudying Venetian glassblowing techniques is considered an important step in a glassblower’s skill development and professional practice. The goal for this intensive review of advanced glass techniques with a true contemporary maestro from Murano is to use traditional and historical designs to express contemporary ideas in glass. Students will observe intricate techniques, including zanfirico, incalmo, reticello, and murrine, that are used to produce precisely blown and sculpted objects, from small bowls to large free-form works. This course is designed to develop glassmaking skills and techniques to a high degree of accomplishment. Students should be well versed in glassworking and want the challenge of refining their skills through keen observation and daily studio time.GlassblowingA / Advanced



PETER HOUK is a studio glass artist and an instructor and director of the Glass Lab at the Massachusetts Institute of Technology. Trained as a painter and printmaker, he incorporates graphic imagery into small blown pieces and large-scale architectural installations. Houk’s work is informed by the opposition of conflict and compromise inherent in structures found in both the natural and the man made worlds and is included in the collections of the American Museum of Glass in New Jersey and the Corning Museum of Glass. He has been an artist in residence at Massachusetts Institute of Technology and a fellow at the Creative Glass Center of America.

Into the FoldPilchuck will become a research laboratory as students and instructors, including artists in residence ERIK & MARTY DEMAINE, explore ways of “folding” glass sculpturally and scientifically, with an overall emphasis on manipulating the glass skin. By using all possible combinations of processes and tools at a range of temperatures, students will expand the boundaries of sculptural glassmaking. As with any research group, teamwork and information sharing will form the central approach in this class, in both discussions and hot-shop improvisational exercises. Students will be encouraged to identify and pursue independent areas of inquiry and to share findings from their experiments with the group. Experience with teamworking in hot glass required.Glassblowing, SculptingA / Intermediate

JUNE 19– JULY 6

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MATT ESKUCHE uses flameworked glass to create uncannily rendered replications of discarded soda cans, fast-food packaging, and other items associated with consumer waste. After completing an extensive course of study in metalsmithing through the Worcester Center for Crafts, Eskuche began flameworking and studied under masters such as Emilio Santini. He has participated in many exhibitions and received acclaim for Agristocracy, a commissioned installation at the Racine Art Museum in Wisconsin. Eskuche has taught and demonstrated all over Japan and the United States, and his work is included in many permanent collections worldwide.

Off the Beaten PathIdeas for projects in this course will naturally evolve from basic but thorough flameworking instruction with borosilicate glass. Students will be encouraged to explore and find inspiration as they juxtapose glass elements with the environment on an intimate scale and in unexpected ways. The nooks and crannies of the architecture and woods that compose the Pilchuck campus offer artists the opportunity to imagine the possibilities of glass in the environment. Group dialogue will determine which ideas fit in the surroundings visually and conceptually. Experience in flameworking is helpful but not necessary, and students of all media are welcome.FlameworkingB / Introductory

JUNE 19– JULY 6

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Hungarian glass artist GYÖRGY GÁSPÁR

has been teaching at the Moholy Nagy University of Art and Design in Budapest since 2006 and became head of glass in 2010. In 2009, he received the most prestigious art prize offered by the Hungarian government, the Noémi Ferenczy Prize, which recognizes excellence in art and design. Gáspár’s work is a construction of colorful, solid, and geometric glass components transformed into stunning renditions of pop-based icons. Inspired by science fiction films of the 1980s, his sculptures are sleek and futuristic and pose questions about truth and illusion in our visual reality.

Free Geometry!This kiln casting, plate-glass, and coldworking course is based on ideas of deconstruction and reconfiguration. Students will explore a combination of processes involving kiln working and adhesion by breaking down constructed forms and rebuilding them into new systems of positive and negative space. The course will also address a variety of moldmaking skills, kiln-firing procedures, coldworking techniques, and assemblage procedures. Discussions on color, the inclusion of mirrors, and the optical capabilities of solid glass will allow students to consider the interior possibilities of their constructions. After translating their ideas through drawing and model making, students will work to find a balance between self-expression and machined form.Kilnworking, Coldworking, LaminatingB / Experience Varied

JUNE 19– JULY 6

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Few artists have had as much impact on the development of a medium as KLAUS MOJE has had on kiln-formed glass. For more than five decades, he has been an artist and a teacher, developing innovative approaches to the technical and expressive capabilities of fused glass. Moje founded what has become Australia’s premier center for talent in glass education, the Glass Workshop at the School of Art, Australian National University, in 1983. Inspired by light and landscape, his work is recognized for its richness in color and linear rhythm. Moje’s works are included in more than fifty international public collections and his contributions to the field have earned him Lifetime Achievement Awards from the Glass Art Society and UrbanGlass, as well as recognition as one of Australia’s Living Treasures.

ERIK & MARTY DEMAINE, a father-and-son team, work across the disciplines of sculpture, mathematics, and science. They are featured in the award-winning documentary Between the Folds, a film about modern origami, and together they explore the mathematical and sculptural possibilities of folding. Martin is the Angelika and Barton WellerArtist in Residence at the Massachusetts Instituteof Technology and an instructor in its Glass Lab. Erik frequently publishes articles on the subject of computer algorithms, is a professor of computer science at the Massachusetts Institute of Technology, and became a MacArthur Fellow in 2003.Their origami was exhibited in Design and the ElasticMind at the Museum of Modern Art in 2008 and is included in the museum’s permanent collection.

JUNE 19– JULY 6

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JULY 10– 27

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CLARE BELFRAGE’s work is distinguished by the use of fine glass threads in complex linear patterns on the surface of blown-glass forms. In merging traditional surface patterning practices and sensitivity toward the linear rhythms and repetitions of the natural world, she creates glass objects that speak of movement, growth, and vitality. Belfrage is a native of Australia and has been the creative director of Canberra Glassworks since 2009. She exhibits regularly in Europe, Hong Kong, New Zealand, and North America and was awarded the Tom Malone Glass Prize by the Art Gallery of Western Australia in 2011.

Evidence of the HandIn order to focus on drawing line onto blown form with glass, this course will look at ways of integrating mark-making and three-dimensional form in the hot shop. Sources of inspiration will include textiles, painting, printmaking, and patterns found in the natural world. Students will explore color application through comparison of the different viscosities and visual properties of soft and hard colors as well as their potential for opacity and translucency. Instruction will include an introduction to sandblasting, engraving, flat-bed grinding, and hand-rubbed finishes useful for integrating layers and softening and emphasizing linear features. Demonstrations, one-on-one instruction, teamwork in the hot shop, and discussion will facilitate artistic development.Glassblowing, Surface-workA / Intermediate



JULY 10– 27

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OSAMU & YUMIKO NODA live and work on Osamu’s home island of Niijima, where they established the Niijima Glass Art Center in 1988 and present the annual Niijima International Glass Art Festival. The center invites artists from all around world, making it an international place of learning in Japan. After graduation from Tama Art University, where they were in the first class of glass students in Japan, they studied under Joel Philip Myers at Illinois State University and have participated at Pilchuck as teaching assistants and instructors. The Nodas have taught workshops internationally and exhibit their work in Europe and in the United States.

From Tradition to ExpressionStudents in this course will discover the joy of glassblowing and find their individual expression with glass as an artistic medium. Instruction will concentrate on developing glassblowing skills and working sculpturally by combining blowing with sandcasting and graphite-mold casting. Coldworking techniques such as grinding and sandblasting will teach students how to develop personal solutions to surface texture and finishes. Group projects and demonstrations will instruct in the tradition of glassblowing while encouraging new approaches and ideas for capturing original form in glass.Glassblowing, SculptingA / Intermediate



JULY 10– 27

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JOHN DE WIT integrates glass paints in his blown-glass sculpture, which has garnered him an international reputation. He was recently a visiting artist at the Museum of Glass in Tacoma and Southern Illinois University Carbondale. De Wit received the Gold Prize at the fifth Cheongju International Craft Biennale in South Korea. His work is included in major collections such as those of the Corning Museum of Glass, the Museum of American Glass at WheatonArts and Cultural Center, and the Niijima Contemporary Glass Art Museum in Japan and is regularly shown in exhibitions across Asia, Europe, and the United States.

Simply SaidExpressing ideas in hot glass with efficiency and expertise will result in artistic statements of clarity and integrity. In this course, the materials and tools needed for sculptural and painterly expression in hot glass and fired-on enamels will be meticulously prepared, measured, and arranged. Each student will build a strong vocabulary within an array of processes: painting, using blanks for pick-ups, blowing, using hot construction, bit working, torchworking, and coldworking. An energetic and critical sculptural emphasis will help students expand the boundaries of their imaginations. Intermediate glassblowing skills are preferred, but painters and sculptors are encouraged to join in.Glassblowing, PaintingA / Intermediate



JULY 10– 27

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MICHIKO MIYAKE uses found objects and recycled glass to create installations and sculpture that play with perception and meaning. With form, light, color, and a variety of construction methods—including encasing found glass in cement (a process known as terrazzo) and stacking and shaping industrial plate glass—she transforms glass discards into translucent and transcendent experiences. In 2003, her work was chosen by the Hokkaido Museum of Art to represent the exhibition Out Spoken Glass in its promotional materials. Miyake received her M.F.A. degree from Rhode Island School of Design and her B.F.A. degree from California College of the Arts. She taught part-time at Tama University in Tokyo until recently, when she began creating commissioned work full-time.

Perceiving Our OriginalityOne way to artistic originality is to work through sculptural concepts with materials and construction methods that are readily available and interesting to the maker. Students in this course will develop original ways of seeing as they exercise choice in assembling new objects from recycled glass, handmade glass elements, found objects, and other materials. Thought-provoking exercises and a group project will lead students to develop personal directions and will inspire surprising transformational journeys. This is a mixed-media course with limited access to multiple studios, including hot-glass casting, slumping in kilns, coldworking, and the wood and metal studios.Mixed Media, Hot & Cold GlassB / Experience Varied



JULY 10– 27

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JEREMY LEPISTO is inspired by observations and objects from his everyday surroundings and uses them to create imagery within kiln-formed glass constructions. He is pursuing a Ph.D. degree in sculpture at the Australian National University in Canberra. With his wife and partner, Mel George, Lepisto co-founded Studio Ramp LLC, a kiln-forming fabrication studio that translates designs by artists and architects into glass. He has taught kiln-forming workshops in the United States and internationally. Lepisto received his B.F.A. degree from Alfred University in 1997. He is currently a member and president of the board of directors of the Glass Art Society.

Kiln Formed to FitMaking glass elements to fit a particular place will be the focus of this kiln-forming course. Each student will choose an approved location on the Pilchuck campus and plan an installation for the site. Students will work step-by-step, developing their ideas through drawing, measuring, designing, sampling, prototyping, and communication, all of which will determine how the first piece is cut. Successful installation will depend on preparation from the beginning. Presentations, field trips, and group discussions will address the aesthetic and pragmatic concerns of site-specific art. Fusing, slumping, coldworking, woodworking, metal fabrication, adhesion techniques, and safety concerns will be introduced. Kilnforming B / Experience Varied



JULY 10– 27

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HANK MURTA ADAMS works predominantly large scale with hot-cast glass and mixed media, creating larger-than-life-size figurative glass castings with metal inclusions, site-specific architectural installations, including the Trojan Horse on the Pilchuck campus, performances, and community-gathering projects. Murta Adams received a B.F.A. degree in painting from Rhode Island School of Design. He teaches workshops often and conducts visiting artist projects internationally, most recently at the 24th Niijima International Glass Art Festival in Japan. Murta Adams is represented by Heller Gallery in New York and exhibits his work worldwide. He is currently creative director of the Creative Glass Center of America at WheatonArts and Cultural Center in New Jersey.

Landscape artist ANDY CAO is a founding partner of Cao | Perrot Studio. He received the Rome Prize Fellowship in Landscape Architecture at the American Academy in Rome in 2002 as well as the Loeb Fellowship from Harvard University Graduate School of Design. Cao came to the United States from his native Vietnam in 1979. After studying landscape architecture at California Polytechnic State University, he began the Glass Garden, a stylized Vietnamese landscape made of forty-five tons of recycled glass. Cao has completed design commissions for hotels, private residences, stores, and museums, including the Los Angeles County Museum. In 2007, he began creating permanent public art for a recycling station near Seattle; the work, based on an organically shaped vessel, will hold thousands of broken shards culled from Pilchuck’s glass landfill.




A native of the Czech Republic, PETR NOVOTNÝ studied glass manufacturing and glass technology at Apprentice Glass Centre in Nový Bor and the Secondary Industrial Glass School. In 1983, he was awarded a master of glass fine arts and crafts. Novotný teaches workshops around the world and, with Libor Fafala, currently co-owns and operates Ajeto Glassworks in Lindava, Czech Republic.

ROB STERN has studied under, assisted, and taught with many artists since 1989. In 2003, he established Rob Stern Art Glass Inc. in Miami, where he and his team execute commissions and architectural projects. In 2010, he was a visiting professor at the University of Texas at Arlington and is the 2011 centerpiece designer for the Pilchuck Annual Auction Gala.

Bohemian RaptureThis course will broaden the abilities of intermediate through advanced glassmakers by focusing on Bohemian methods of production and the Czech style of design. Students will progress from exploring traditional Moravian techniques in two-person teams to executing more complicated designs in larger teams. Instructors will demonstrate sculpting, moldmaking, mold blowing, bit work, assembling with the garage, coldworking, engraving, and toolmaking for the purpose of augmenting students’ technical strengths. Field trips to local studios, visiting artists, and the Pilchuck library will inspire the development of individual aesthetics. Taking cues from Czech design, student exploration will culminate in final projects pushing scale in temporary, site-specific, architectural work. Glassblowing, ColdworkingA / Intermediate–Advanced

JULY 31– AUGUST 17

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RICHARD ROYAL, a native of the Pacific Northwest and resident of Seattle, is recognized internationally as a versatile glassblower and artist whose career spans more than thirty years. He first worked with glass in 1971, and in 1978, he was introduced to Pilchuck, where he began his career as an artist and gaffer for Dale Chihuly, Dan Dailey, and Benjamin Moore. Royal’s work is exhibited internationally, is included in public and private collections worldwide, and has earned him a grant from the National Endowment for the Arts. His signature approach to glassmaking combines sensuality, fluidity, and sculptural notions of interconnectedness.

Change the Subject

This course will ask artists to recognize why they create the things they do and will inspire new sources of creativity. Students will be asked to bring a written story, visuals, a particular memory, or a compelling experience on which to base new work. The emphasis of the course is on vulnerability, letting go of previous aesthetic directions and ways of working with glass, and giving a new voice to creative work. The process will encourage new hot glassworking methodologies combining blowing and sculpting—like Hell’s Kitchen without the screaming, yelling, and attacks on personal hygiene. Glassblowing, SculptingA / Advanced


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NORMAN COURTNEY has been combining cast glass with public art for more than twenty years. His numerous public and private architectural glass commissions achieve an immediate sense of place while complementing the surrounding architecture. Done primarily in clear glass, Courtney’s projects include wall-size figurative murals, entryways, space dividers, and lighting concepts, all of which exploit the optical properties of the material. He has taught extensively on the architectural applications of cast glass, including multiple summers at Pilchuck. Courtney founded the glass program at Pratt Fine Arts Center in Seattle and was its first program director.

All-Out Hot CastingThis course is for artists and designers interested in using hot-cast glass for sculpture, architecture, lighting, and public art. Daily hands-on molten-glass casting and moldmaking sessions will enable students to explore personal philosophies and aesthetics for creative direction. Discussions of the public art process will provide information on engaging the public and addressing the social and political history of a place in order to create an enduring site-specific work. Students will learn about templates and molds made from sand, metal, plaster, carbon, and wood and coldworking processes. Individuals will be given the tools to plan, present, cast, and assemble projects in the future.Hot-Glass CastingA / Experience Varied


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NARCISSUS QUAGLIATA was born and raised in Rome, where he studied painting with Giorgio de Chirico. He later attended the San Francisco Art Institute and earned both his bachelor’s and master’s degrees in painting and graphics. Quagliata began working in glass soon after graduation and has since used it as his principal form of artistic expression. Recently, he completed Dome of Light, the world’s largest installation of glass pieces, located in Kaohsiung, Taiwan. He has twice received grants from the National Endowment for the Arts for his work in the United States. Quagliata resides in Mexico and continues to undertake commissions internationally.

Images of Light

As an exploration into the many ways that glass and light can transform public and private spaces, this course will survey the visual dynamism of artistic and architectural glass panels. Traditional flat glass techniques such as fusing, painting, leading, glazing, laminating, cutting, and sandblasting will be taught. Students will be asked to approach these processes innovatively in order to realize their own creative potential. Discussions will cover the architectural art process from the proposal, to the presentation, to the technical aspects of fabrication and installation. Applicants should be experienced with artistic processes, as this course will be very hands-on, emphasizing the process of invention, ideation, the exploration of material, and the implementation of technique.Architectural & Stained GlassB / Experience Varied


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ANA MacARTHUR has been exploring the physical properties of light since the 1970’s and is passionate about understanding its transformative nature. Until 2004 she was a partner in Aurorean, one of the few dichromate holography labs in the world, which she co-founded in 1988, distinguishing her as a pioneer in the field. MacArthur’s current work explores inspirations in the natural world that suggest ingenious uses of sunlight for generating energy. Utilizing holograms and multimedia, she brings together scientific research and ancient biological knowledge to posit a new energy future. MacArthur has exhibited internationally, and her work is found in collections such as those of the MIT Museum in Massachusetts, the Museum of Holography in New York, and the Sharjah Art Museum in the United Arab Emirates.

Seattle-based artist VICTORIA HAVEN’s recent work maps her relationship to abstraction, rock music, and the great outdoors in a wide range of media. Her 2011 show Hit the North comprised two separate exhibitions, one at Greg Kucera Gallery in Seattle and the other at PDX Contemporary Art in Portland, Oregon. The two exhibitions coalesced into a single body of work referencing themes widely affiliated with the Pacific Northwest. Hit the North revealed a merging of material examinations and abstracted forms with text and cultural references specific to Haven’s native region and was accompanied by an exhibition catalog. Her work has been reviewed in publications such as Art in America, art ltd., and Artforum.


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ANNETTE BLAIR moved to Adelaide, South Australia, in 2005 after graduating from the Australian National University, Canberra, and began a two-year traineeship in the hot glass studio at the JamFactory. Currently she works as an artist, gaffer, and assistant to artists working out of Canberra Glassworks and teaches at the Australian National University.

JENNIFER ELEK received her B.F.A. degree from Alfred University in 1994. Currently a resident of Seattle, she is a key member of Lino Tagliapietra’s team and regularly teaches workshops in Canada, Israel, Japan, and the United States. Her work was featured in UrbanGlass Quarterly and in the exhibition Convergence Zone at the Bellevue Arts Museum in Washington.

Eating Our Way Through DesignThis course is about designing, creating, and using tableware to enhance the eating experience and is for people who love food, fun, friends, and glassblowing. Students will explore the possibilities of the eating experience in response to specific foods by designing vessels that honor beauty and nourishment. Projects will be based on the display and consumption of specific styles of food, especially those native to the Pacific Northwest, and will be created primarily in the hot shop. Dialogue, research, drawing, and prototyping will help examine functionality, culinary aesthetics, elements of good design, and production approaches. The emphasis will be on teamwork, craftsmanship, and eating!Glassblowing, Design B / Intermediate

AUGUST 20– 31

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EINAR & JAMEX DE LA TORRE studied sculpture and glassblowing at California State University, Long Beach. Working as a collaborative team for nearly twenty years, the brothers have exhibited in galleries and museums worldwide, earning a Louis Comfort Tiffany Award in 2007 and a Joan Mitchell Award in 2006. They teach internationally at glass facilities such as JamFactory in Australia and North Lands Creative Glass in Scotland. The de la Torre brothers are recognized for their unconventional glassworking techniques combining glass with mixed media, and for works that explore traditional cultural iconography and current environment of commercialism.

The Liberal MediaThe objective of this course will be to sidestep the inherent and obvious beauty of glass and use its energy and fluid nature to communicate content. Students will be asked to rebel against the seductive nature of glass with an exploration of hot-glass sculpting and its creative potential in mixed-media sculpture. Daily activities will include investigation of glass bit-working techniques, quick color applications, and the various materials and processes in other studios. Students should bring other media, materials, and found objects for use in mixed-media assemblage. Drawing, assignments, and collaboration will open dialogue and strengthen teamwork. Hot-Glass Sculpting, Mixed MediaB / Experience Varied

AUGUST 20– 31

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Born in England, EMMA WOFFENDEN earned an M.A. degree in ceramics and glass from the Royal College of Art. She is internationally known for her experimental mixed-media installations and sculpture that joins unrelated materials to suggest transformation. Woffenden collaborates with her husband, Dutch designer Tord Boontje, on Transglass, a line of wares composed of recycled wine and beer bottles. She has been represented by Marsden Woo Gallery in London since 1998, and her work is found in public collections, including those of the Museum of Modern Art in New York and the Victoria and Albert Museum. Woffenden lives and works in London and rural France.

Inflation, Form, & MeaningThrough exercises, instruction, and daily glassblowing, students in this course will learn fundamental glassblowing techniques in order to examine the suggestive meaning of form. Experimentation and creative play will be encouraged as opportunities for discovering expressive and non-traditional shapes. Hot and cold methods of shaping glass will be applied technically and conceptually, using the bubble as a building element for ideas. Discussion, teamwork, and individual exploration will help each student develop a personal response and deeper understanding of glass as an artistic medium. Artistic vocabularies will be broadened and inspired by the behavioral and visual properties unique to this material.Glassblowing, Mixed MediaB / Introductory

AUGUST 20– 31

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JEREMY BERT sees the abandoned signage of the commercial strip as an analogy for the condition of our culture. His artwork consists of recycled and altered signage and free-form neon tubes. A licensed sign electrician, certified welder, and crane operator, Bert lives in Seattle and specializes in large-scale lighting and installation of electric signs. He received his B.F.A. degree in 1994 from Alfred University. Bert has shown at the Museum of Neon Art, Los Angeles, and recently participated in the exhibition Plugged In at Jenkins Johnson Gallery in New York.

Light It Up!!!Most of us live in the glow of electric light. Through an exploration of the mechanics and potential of electric light in sculpture, this course will empower the non-technically-inclined artist to harness this omnipresent medium. Instruction will address LED, fluorescent, and incandescent technology, along with neon, including glass-tube bending and splicing, bombarding, and different kinds of transformers. Students will also learn about the portability of battery power and erect a solar-powered neon/LED display. After completing this course, students will have the vocabulary and understanding necessary to navigate the industry. Artists who are curious about neon and electric light will find this an energizing course!NeonC / Experience Varied

AUGUST 20– 31

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JANE BRUCE earned her master’s degree from the Royal College of Art and undertook postgraduate study at Alfred University. Her work, an examination of the vessel through glassblowing, kilnworking, and coldworking, is deeply rooted in the history of the decorative arts. Drawing and printmaking are also significant aspects of this investigation. Bruce’s work is held in museum collections worldwide, including those of the Corning Museum of Glass, the Los Angeles County Museum of Art, and the Victoria and Albert Museum. She has taught at Alberta College of Art + Design, Calgary, and the Australian National University, Canberra.

The Glass BuffetThis class is for those who seek a hands-on introduction to a variety of glass processes. Glassblowing, fusing, and slumping will be core activities in this workshop. Students will also explore other ways of working with glass, such as hot casting, coldworking, and printmaking. Through daily dialogue, drawing, basic model-making, demonstrations, hands-on work, group interaction, and individual attention, students will explore the relationships between techniques and develop their own forms and directions. Slide presentations on historical and contemporary glass will enhance creative practice in all areas. Come prepared to work hard and explore.Glass SurveyB / Introductory

AUGUST 20– 31

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In her mixed-media installations, photography, and video, MARIA MAGDALENA CAMPOS-PONS investigates how personal history and memory help form one’s identity. A reflection on her self-imposed exile from Cuba and her experiences as an Afro-Cuban woman living in North America, her work explores the socioeconomic and political complexities involved with her sense of place as a person of mixed heritage. Campos-Pons has exhibited internationally since 1984, and her work is held in the collections of institutions such as the Museum of Modern Art, New York, and the National Museum of Fine Arts, Havana. Her most recent exhibition, Mama/Reciprocal Energy, at the Vanderbilt University Fine Arts Gallery, features autobiographical mixed-media drawings that examine themes of cultural displacement in relation to the nature of energy.

The photographic imagery and sculptural works of SANT KHALSA create a contemplative space in which viewers can sense the subtle and profound connections between themselves, the natural world, and the built environment. Her work is an inquiry into the nature of place and the complex environmental and societal issues present and visible in the landscape of the American West. Khalsa’s work is exhibited internationally, has been widely published, and can be found in many permanent museum collections, including those of the Center for Creative Photography, at the University of Arizona, in Tucson, the Los Angeles County Museum of Art, and the Nevada Museum of Art. She is professor of art, photography, and new genres at California State University, San Bernardino, where she helped found the Water Resources Institute.

AUGUST 20– 31

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Help Pilchuck commemorate the fiftieth anniversary of the studio glass movement during this five-day session led by celebrated artists of American studio glass. Presentations, demonstrations, and hands-on workshops will survey a variety of glassworking processes and will be led by artists who have been integral to the development of studio glass art and Pilchuck.

Open to all skill and experience levels, participants will be able to design their own program by choosing from simultaneously-scheduled creative activities. It will be an opportunity to learn how and why artists make their work, gain new perspectives on the challenges and fun of working with glass, or re-ignite the passion for glass and fan the flames!

Presentations will feature artists showing images and talking about their art, inspired historical perspectives by Walt Lieberman and Fritz Dreisbach, and notable visiting artists and professionals.

DEMONSTRATIONS, PRESENTATIONS, AND HANDS-ON WORKSHOPS WILL INCLUDE:

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SEPTEMBER 2 – 8

Glassblowing & Coldworking An accomplished glassblower, artist, and teacher, AMY RUEFFERT has apprenticed with the best, including Richard Marquis and Richard Royal. She will be teaching half-day workshops in the hot shop with a focus on solid and bit-working processes she uses in her own work. Rueffert will lead participants in introductory-level teamworking, including the making of flower forms. Participants will also have the opportunity to learn her coldworking and decal application techniques.



Hot-Glass Sandcasting PAUL MARIONI will lead sessions on hot-glass casting into open-faced sand molds created with positive-forms such as carved Styrofoam. Activities will place a strong emphasis on creativity and imagination. A consummate artist and craftsman, Marioni first came to teach at Pilchuck in 1974 and has returned to instruct and inspire multiple times over the past thirty-eight years.

Painting on Glass & Printmaking CAPPY THOMPSON, DICK WEISS, & WALT LIEBERMAN are known as the Pacific Northwest’s premier glass painters and collaborators and have inhabited the Pilchuck campus in a variety of different capacities since the late 1970s. Together they will introduce collaborative opportunities for applying imagery to the glass surface by means of painting with fired-on vitreous enamels and printmaking, guaranteed to be endless fun!

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SEPTEMBER 2 – 8



Glassblowing & Coldworking FRITZ DREISBACH, in the hot shop with the help of Dante Marioni, will demonstrate and explain the ideas behind making “trick” goblets. In the cold shop Dreisbach will introduce the basic carving techniques he uses in creating his optically engaging work. Dreisbach is one of Pilchuck’s earliest artist-instructors and a leader in the studio glass movement. He has remained dedicated to the school ever since he helped to build the first glass furnace. Dreisbach continues to teach and serve on the board of trustees, and lead the occasional pig-roasting workshop.

Gaffers’ Station Well-known for their superior abilities and aesthetics with glass, DANTE MARIONI and JANUSZ POŹNIAK are artists, designers, and glassmakers with international exhibition and teaching careers, who have worked together in Seattle for many years. As artists and craftspersons in residence, they will work on their own art and assist with some of the demonstrations.

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SEPTEMBER 2 – 8

2012 Summer Program Course Catalog

Documents

Transcript of 2012 Summer Program Course Catalog