Glass Art Society

International Student Online Exhibition2013 Juried Selection

Education CommitteeJiyong Lee

Caroline MaddenJessi Moore

Shannon PietteCassandra Straubing

Patty Cokus

DesignersOnline Exhibition - Patty Cokus

Juried Selection Catalogue - Kristin Galioto

International Student Online Exhibition CataloguePublished June 2013

ABOUT THE EXHIBITION & CATALOGUE

The 2013 International Student Online Exhibition is an all-inclusive exhibition, published on the GAS website. It is a non- juried exhibition and open to all current full-time GAS student members. The exhibition catalogue features a juried selection, including 1st, 2nd and 3rd place winners, honorable mentions and additional selected works. Awards for top entries are provided by the Glass Art Society and its supporters. All pieces are original, professionally crafted, contain glass as the main element and were designed/created between 2012-2013.

FEATURED ARTISTS

First Place Morgan Chivers

Second Place Tom Zogas

Third PlaceMadeline Steimle

Honorable Mentions Jean Fernandes, Karlye Golub, Namdoo Kim, Meredith Lopez, Kaila Mock

Selected Works Juliana Bolaños-Durman, Maryse Chartrand, Emily Craddock, Linda Diec, Rachael Erickson, Amelie Girard, Christopher Gray, Brittany Hamlin, Sheila Labatt, Nelli Lorch, Karen Mahardy, Maggie McCain, Aya Oki, Biagio Scarpello, Joe Sircoulomb, Julie Sittler, Margaret Spacapan, Jeffrey Stenbom, Timothy Stover, Rebecca Szparagowski, Erin Taylor, Sarah Vaughn, Nao Yamamoto

JURORS

Ann MulrooneyMarc PetrovicKen Saunders

FIRST PLACE

The optically observable are a mere sliver of the spectrum of interwoven phenomena composing our reality – we did not perceive ourselves in the midst of an expanding mist until we learned to observe with radio waves. Paper-thin glass discs are suspended on a glass tube, suspended from loops of live wiring. The radio waves generated within each loop overcome glass’ non-conductivity, introducing electrical stimulation inside the sealed tube, overcoming the inert tendencies of the gases trapped in the tube, emitting a faint glow through ionization. Surrounded by complete darkness, this echoes our condition: a fragile balance seen through radio waves.

MORGAN CHIVERSUniversity of Texas at ArlingtonArlington, Texas

Particulate Pulse (Inertness is a Relative Matter) 2013 13 x 33 x 13 cm

Glass, xenon, neon, electricity(some assistance with neon)

SECOND PLACE

These vessels are designed to house, culture, and dispense nannochloropsis micro algae. Micro algae is an organism used for biofuel production, waste water treatment, and health purposes. The form of these vessels takes inspiration from historical objects, while updating their function to a contemporary one. The application of a contemporary function to a historical vessel causes more engagement with the viewer, and relates to the modern society that they are a part of.

TOM ZOGASRochester Institute of TechnologyRochester, New York

Personal Microalgae Production Units 2012

Largest 14 x 6 x 5 inBlown glass, water, microalgae, fluorescent light

THIRD PLACE

WATCH THE VIDEO

http://www.youtube.com/watch?v=f8BIlE0aSbo

In my work I explore the differences between analog and digital media, as our society takes steps to digitize most of our culture. My series of glass recordings are ephemeral in nature, although stored correctly they could last indefinitely. Not only does the casting process corrupt the data on the recordings, but each time the grooves are traced by the phonograph needle, the music wears away further. Through the reproduction of media, degradation is inherent in my work.

MADELINE STEIMLESouthern Illinois University - CarbondaleCarbondale, Illinois

VIDEO - “You’re All I Want for Christmas” Vitreo-Tone Recording 2013

10 x 10 x 0.125 inVideo, cast glass

AWARD DONORSThe Glass Art Society offers sincere appreciation to the following companies who generously provided gifts for the 2013 GAS International Student Online Exhibition winners.

FIRST • GOTT STEAMER Glass Shaping System - $200• One year GAS Membership • FREE 2014 Chicago GAS Conference pass• FREE 2014 Chicago GAS Conference t-shirt

THIRD • GOTT STEAMER Glass Shaping System - $150• Armour Products/Etchworld - $50• One year GAS Membership• 25% off 2014 Chicago GAS Conference pass

SECOND• GOTT STEAMER Glass Shaping System - $150• Carlisle Machine Works/School of Glass Art - $100• One year GAS Membership• 50% off 2014 Chicago GAS Conference pass

*Click on logos below to visit donor websites

HONORABLE MENTION

JEAN FERNANDESUniversity of Texas at Arlington

Arlington, Texas

Untitled2012

18 x 12 x 7 inKilnformed & hot sculpted glass

My work is about the interaction of positive and negative space. I’m intrigued by how they contrast and define one another. This piece in particular is an exploration of how a small amount of material can define a larger space so much that the space becomes more of a material than the material itself. The clear glass was created as a measurement device as well as an observation tool, where the weight of the clear is roughly equal to the weight of the black glass and the magnification allows the viewer to observe the texture of the glass matrix within the strands of black glass. (edited)

My work is composed of intricate and complex kiln formed murrini patterns. I am creating nebulous forms reflecting tiny universes expanding and collapsing, thus allowing me to construct a unique composition each time.

Cygnus Loop2013

10 x 10 ftKilnformed, blown, cold cut, fused murrini glass

HONORABLE MENTION

KARLYE GOLUBBowling Green State UniversityBowling Green, Ohio

HONORABLE MENTION

NAMDOO KIMRochester Institute of Technology

Rochester, New York

Way to go! Dude!2012

15 x 9 x 2 inFlameworked glass with mixed media

I am trying to criticize today’s society through my art works. Lacking individuality and quality of character, creating a whole society of people who are easily replaceable and hold little value, just like mass produced plastic toys.

My ideas derive from exploration of who I am as a person, and what I value. Ideas are often a projection of aspects of my life: desires, reactions, and emotions. When I stray from personal experiences, I find myself exploring my ethical interests, delving deep into research on endangered animals and elusive creatures. Ideas are further transformed through “happy accidents”. My design process is an ever-evolving development of meaning and material fueled by my love of creativity.

The Promise 2013

32 x 22 x 15 inKilnformed, flameworked & fused glass

HONORABLE MENTION

MEREDITH LOPEZRochester Institute of TechnologyRochester, New York

Sweet Sixteen2013

6 x 6 x 3 ftBlown glass, school desk

The work I make often deals with highly personal and sometimes deeply distressing subject matter, I find that the act of making can be cathartic. My process is methodical, disciplined, repetitive and logical, which is my attempt to impose order on the chaos, anguish, suffering, and sorrow that frequently characterize my content. While my work derives from personal experiences, private emotions and a position of profound interiority, I try to create pieces that hover between the obvious and the ambiguous, between the private and the public, between the abject and the aesthetic. (edited)

HONORABLE MENTION

KAILA MOCKEmporia State University

Emporia, Kansas

Other Selected WorkSELECTED WORKS

MARYSE CHARTRANDEspace VerreMontreal, QC, CANADA

Memory Fragment

Memory is a fragile imprint. It’s only power is to leave a trace that time toys with. To stop this rampage one has to fossilize the past. A souvenir forever stolen from the biggest thief of all. Time.

JULIANA BOLAÑOS-DURMANEdinburgh College of ArtEdinburgh, SCOTLAND

Mix&Match Series 6 out of 21 Sculptural Non-functional Vessels

The primary theme within my creative process is the exploration of preciousness and play within the studio practice. Preciousness, it is not only the value or quality of the materials themselves but more so what they represent. I find myself choosing and treasuring things that have a story and a link that represent emotional connections. Therefore, it is essential for the creative process to give the artwork the same significance, disregarding where it came from or how it was constructed. I want to create raw pieces that are put together intuitively by exploring the different materials and invite the viewer to become part of the journey.

SELECTED WORKS

EMILY CRADDOCKAlfred UniversityAlfred, New York

Aura of the Pangolin

Known as a scaly anteater, the pangolin is a burrowing mammal native to Africa and Asia that roots for termites and ants. The pangolin is considered to be an auspicious and magical creature that has become endangered due to overhunting - primarily for its scales. By taking this wonderful element of the creature, I have created an abstract form out of glass and hung it on a glass branch to highlight the brilliance and beauty of the pangolin’s fragile existence.

LINDA DIECColumbus College of Art & DesignColumbus, Ohio

Halo (installation)

Halo illuminates the inherent flaw in man’s attempt to create the perfect by glorifying the faulty or accidental. In transforming the seemingly mundane into something extraordinary, Halo creates a dialogue that questions the value of seeing beauty in the imperfect. The gallery wall is dissolved into a fabricated and premeditated architectural blemish, while a neon light (a halo) reveals and glorifies its hackneyed and artificial making.

AMÉLIE GIRARDEspace VerreMontreal, QC, CANADA

Leaving the Garden of Eden

My work is and exploration of the poetry of everyday life. I find inspiration in the most simple things – all those things around us that we barely notice anymore and which, yet, withhold great beauty. I use glass to capture and cast light on that beauty, hence giving everyday objects a sculptural dimension and pulling them away from anonymity. For beauty, to me, speaks of the very essence of the world.

RACHAEL ERICKSONSouthern Illinois University - CarbondaleCarbondale, Illinois

Avatar

My body of work is an investigation into the ways in which technology’s rapid progression is affecting us as human beings. It is a physical recognition we are changing, and an examination of the manifestations of those changes. Our technological advances enable us to play a role now much closer to God`s. So the question becomes-Who are we? What do we want to be? Who do we wish to become? The avatar is up to you.

CHRISTOPHER GRAYUniversity of Wisconsin - River FallsRiver Falls, Wisconsin

Chainsaw

I have always enjoyed working with all kinds of tools. The thing I enjoy the most is the inherent danger involved when working with power tools. The same goes with blowing glass it’s hot dirty and can be dangerous, “Chainsaw” is me combining my love for blowing glass and revving it up.

BRITTANY HAMLINCollege for Creative StudiesDetroit, Michigan

Jewel of the Sea

Using microscopic organisms as inspiration, fused glass murrini, along with color and pattern convey what it might feel like to view the microbial world in fluid motion. Presented on giant glass slides, the molecular world is magnified, reflecting the multiple societies that live within our universe.

NELLI LORCHBezalel Academy of Arts & DesignJerusalem, ISRAEL

Burst

This piece was created by blowing layers of colored glass into a hot mold and breaking it while continuously blowing. The resulting effect is of my face bursting from the inside. It refers to a common feeling of trying to contain something within oneself, and the way it might tear you up inside.

SHEILA LABATTRoyal College of ArtLondon, UNITED KINGDOM

Krakatoa

My work is inspired by an intensive 15-year immersion in Korean and Chinese culture, during which time I developed a passion for calligraphy and ink painting and learned to cast glass. My current project explores the idea of ‘Glass as Ink’ and seeks to imbue cast glass with a gestural and apparently spontaneous ink aesthetic, evoking Chinese traditional and contemporary ink painting and calligraphy, in the third dimension.

KAREN MAHARDYRochester Institute of TechnologyRochester, New York

Long Rolling Wave

I am interested in a consciousness of space, not in the sense of an enclosed three-dimensional entity, but rather the simultaneous awareness of form and non-form deriving from an intensification of attention. In my work I explore capturing the essence and energy of a specific place or experience. I do this by focusing on the point where the work I am creating is in a state of becoming and contains action, as if movement were frozen in time. I don’t think in terms of decoration, but in terms of clarity, a kind that may be achieved through omission or exclusion of the non-essential.

MAGGIE MCCAINUniversity of Hawaii at ManoaHonolulu, Hawaii

Passenger Cloud 1

Clouds present one of the biggest obstacles for climate change prediction science today. Scientists do not yet know the explicit function of clouds and their effect on climate conditions. Maggie McCain’s PhD. research involves using several climate predictions, and as long as these predictions are filled with gaps, so is her research. The passenger cloud series is inspired by the rail systems of her hometown and has grown to include many other forms of travel, including airships and submarines, and the clouds that confound her research.

AYA OKIRochester Institute of TechnologyRochester, New York

Plump Cheeks

I want to express all of the qualities that make glass a unique medium. Every day we see glass objects but when used in art, glass becomes impressive and full of possibilities. Glass has always responded well to my creativity. Each time I work with glass it is like having an exciting conversation with a good friend and I am passionate to share that with my audience.

BIAGIO SCARPELLOSan Jose State UniversitySan Jose, California

VIDEO - Convey

I am a process-based interdisciplinary artist with works that are truthfully sincere, but simultaneously tongue-in-cheek. Recently I’ve been working with kinetics, glass, sound, and prefabricated objects to create works that examine psychological states including reliance, perseverance, efficiency, and futility. I use glass as a means of assigning tension and allure to installations, while re-purposed industrial hardware create a context of questionable purpose. These precarious situations are playfully suspenseful with an endearing ability to challenge preconceived notions of art, functionality, and production.

WATCH THE VIDEO: http://vimeo.com/63974606

JULIE SITTLERVermont College of Fine ArtsMontpelier, Vermont

Unclear (Nuclear)

How does one protect oneself from a possible nuclear attack? Do we let the government guide us by having us build unrealistic shelters using sandbags and hand-cranked fans for protection? Why government’s previous solutions seemed more like game pieces than reality. Was this a sustainable solution for civilization or just silly ideas conceived around the table? Fortunately we never needed to find out, but how can we expect a viable solution for today with a new threat looming out there?

JOSEPH SIRCOULOMBEmporia State UniversityEmporia, Kansas

Two Spirit

My work deals with esoteric teachings from ancient cultures and addresses topics related to gender/sexual minorities. It is my belief that modern society has forgotten many of the mystic aspects of sexuality; a topic which I find personally relevant. The piece “Two Spirit” is about the Native American belief that homosexuals have two spirits in one body. The presence of a feminine spirit, in combination with the earthly masculine, allowed the man to see into the spirit world. This piece also addresses the concept of empty thought that is found in shamanic and mystic traditions around the world.

MARGARET SPACAPANTulane UniversityNew Orleans, Louisiana

Contained, VI

My current body of work explores formal, geometric, and spatial relationships of industrial objects. I separate the objects from their use and divorce them from their intended function, translating them into glass. I find beauty when something can be separated from the reason it was made and still have impact as an object aesthetically. The objects can be cold and sterile: though, creating interactions within an environment through repetition, or changing the scale or material, allow formal elements to take precedence. Using kiln-formed glass, I explore ways to transform an object, rendering a new mass and volume, and redefining space.

JEFFREY STENBOMUniversity of Wisconsin - River FallsRiver Falls, Wisconsin

Harlequin’s Desire

I believe glass is very much like a person, filled with potential, beauty, and emotion. Glass is so strong but so weak at the same time. Everyday there is a new unknown discovery just waiting to happen. Glass pushes every emotion for me. It is a mental and physical challenge that connects my soul to creativity. The process of creating is a journey for me with endless possibilities.

REBECCA SZPARAGOWSKIBowling Green State UniversityBowling Green, Ohio

Relationships

Relationships are complicated. These castings are a frozen snapshot in time only beginning to touch upon the beauty and complexity of our relationships we have with one another. While there is beauty in the weapon, there remains an inert potential for harm.

TIMOTHY STOVERKent State UniversityKent, Ohio

Ruins

The phrase “broken glass” carries with it a negative connotation. As children, we are taught that glass is fragile, and if it’s broken, it can be dangerous. Immediately, we grab the dustpan and sweep it up, yet we are so afraid of the pieces that we generally do not stop to see the shimmering iridescent beauty that occurs. The breaks undulate and refract light in ways that cannot be duplicated by hand or machine. Ruins explores the dichotomy between the imperfections of the fragments and the beauty that is achieved by restoring them.

ERIN TAYLORSouthern Illinois University - CarbondaleCarbondale, Illinois

VIDEO - Cellam Divisio Alchemia

My work is an examination of our understanding of the scientific world. Scientific discoveries have done much to improve our lives over the past five hundred years. Along with the accelerating pace of scientific discoveries comes confusion and a great disconnect with our daily reality. By exploring the origins of science I hope to make tangible connections to the complex issues of our time.

SARAH VAUGHNRochester Institute of TechnologyRochester, New York

House of Cards IX

I try to make work that conveys emotional reactions to an audience while maintaining distance from the actual events that take place in life.

WATCH THE VIDEO: http://vimeo.com/66049411

NAO YAMAMOTOCalifornia State University - San BernardinoSan Bernardino, California

Ripples

I graduated from Tama Art University, department of ceramics, glass, and metal in 2011, specializing in glass art. I am currently enrolled in the Masters of Fine Arts program at California State University - San Bernardino. I make organic abstract objects that are inspired by the simple beauty of glass. Glass is the most beautiful material for me. I investigate ways to emphasize the attraction of glass.

JULIANA BOLAÑOS-DURMANMix&Match Series 6 out of 21 Sculptural Non-functional Vessels2013Biggest: 21 x 10 x 5 cm, smallest: 2 x 7 x 5 cmBlown and found glass, engraved

MARYSE CHARTRANDMemory Fragment 201313 x 40 x 28 cmPate de verre glass & natural rock

EMILY CRADDOCKAura of the Pangolin 201316 x 20 x 4½ inBlown/sandblasted glass, laser-cut buttercut & UV glue

LINDA DIECHalo (installation)2013Approximately 28 x 28 x 28 inNeon, building materials (assistance with production & installation)

RACHAEL ERICKSONAvatar201327 x 12 x 5 inBlown, laminated & sandblasted glass, enamel paint

AMÉLIE GIRARDLeaving the Garden of Eden2013300 x 10 x 8 cmCast glass, dyed raffia, wool

CHRISTOPHER GRAYChainsaw201318 x 6 x 5 inBlown glass, steel

BRITTANY HAMLINJewel of the Sea201230 x 15 x 6 inFused glass, silver, enamel, steel

SHEILA LABATTKrakatoa 201223 x 19 x 8 cmCast lead crystal glass

NELLI LORCHBurst201227 x 40 x 30 cmHot mold blown glass

KAREN MAHARDYLong Rolling Wave20137 x 10 x 32 inKilnformed glass

MAGGIE MCCAINPassenger Cloud 120129 x 6 x 4 inHigh fire enamel, blown glass, steel (assistance with welding & forging steel)

AYA OKIPlump Cheeks201230 x 40 x 8 inBlown glass, rubber, thread

BIAGIO SCARPELLOVIDEO - Convey 201340 x 75 x 18 inIndustrial conveyor system & solid sculpted hot glass

JOSEPH SIRCOULOMBTwo Spirit 20136 x 14 x 2½ inKiln cast lead crystal, plaster/silica mold

JULIE SITTLERUnclear (Nuclear) 201340 x 36 x 36 inSilk-screened, kiln cast glass on machine stitched, coffee-dyed tablecloth with hand stitched detail

MARGARET SPACAPANContained, VI2013Each 28 x 23 x 35 inKilnformed glass, cast concrete

JEFFREY STENBOMHarlequin’s Desire201220 x 8 x 3 inCast glass

TIMOTHY STOVERRuins 201332 x 10 x 5 inCast, hand polished and assembled glass

REBECCA SZPARAGOWSKIRelationships20134½ x 17 x 17 inCast and blown glass, nickel silverPhoto by Keith Meiser

ERIN TAYLORVIDEO - Cellam Divisio Alchemia2013Glass, forged iron, video projection

SARAH VAUGHNHouse of Cards IX20124½ x 4½ x 16 inKiln formed glass powders

NAO YAMAMOTORipples 2013Each 32 x 17½ x 17½ cmBlown, fused and glued glass

Selected Works Image Details

JUROR COMMENTS

Ann Mulrooney

Marc Petrovic

Ken Saunders

As a juror for this year’s Online Student Exhibition I have noted several emerging tendencies that are revealed in the works of these students working in glass. First and most obvious is the adoption of techniques and creative strategies that have been embraced by contemporary artists for some time but have seemed, until very recently, to be incompatible with the practice of creating glass objects. An awareness and understanding of alternative media and the time-arts has lead to an explosion of performance, video and installation based works that reveal a depth of creative sophistication that has become de rigueur for young artists working in glass. In tandem with this development is an interest in subject matter that is often intensely personal and almost always suffused with meaning. While there is plenty of work here that celebrates breathe-taking virtuosity these makers clearly wish to create objects of expression and as such, works of art.

I was honored to be asked to judge this year’s student show. I immediately thought, aside from being highly critical, who was I to pass judgment on the artistic endeavors of others? If your work was not in the final selection of praise, I am sure you are still asking that question. But, I was asked to throw stones from my very own glass house, so I tried to be considerate of my aim. Glass is an incredibly challenging material, and balancing strong concept with quality execution can be an incredibly difficult task. In choosing work I tried to find pieces that I felt met this balance most successfully. I would like to extend congratulations not only to all the prize winners, but also to all those that participated, who imagined, and created. Imagining and creating (and being constructively critical) are very hard work indeed. Try to remember that whether you felt your efforts were met with success or failure, it is just the beginning. There is no resting, no plateau. You must get out there and do it again...and don’t worry about the stones.

This was a very enjoyable opportunity to see some of the great work that’s being made by students and graduates internationally. I was very impressed by the standard of work submitted, particularly in the balance between technical and conceptual. It’s great to see work that’s not only really well-made, but is also investigating and exploring the potential of the medium.

Ann Mulrooney studied in the Crawford College of Art, Cork, Ireland and the Royal College of Art, London, UK, where she graduated in 2003 with an MA in Sculpture. She exhibited widely in the UK and Ireland and her work is held in numerous public and private collections. She has received numerous awards, including the Cicilitira Prize for Sculpture (RCA, UK, 2002), the Deutsche Bank Pyramid Award for Fine Art (UK, 2003) and the Arts Council of Ireland (Irl 2006). She worked as a freelance curator in Ireland and the UK before joining the Crafts Council of Ireland in 2008 to run the critically-acclaimed National Craft Gallery, based in Kilkenny, Ireland. Through exhibition and touring programmes, the gallery explores Irish and international craft and design in the context of historical and contemporary material culture. She is an External Examiner for BA and MA ceramics, glass and metals programmes in the National College of Art and Design (Irl), and is a frequent contributor to cultural publications and programmes, including The View (RTE television, Irl), Ceramics; Art and Perception (USA) and the Irish Arts Review (Irl).

http://www.nationalcraftgallery.ie/

JURORAnn Mulrooney

Manager and Curator, National Craft GalleryKilkenny, IRELAND

JURORMarc Petrovic

ArtistEssex, Connecticut

Marc Petrovic graduated from the Cleveland Institute of Art in 1991. He was the recipient of the top Agnes Gund Memorial scholarship. Marc works out of his private studio that he shares with his wife Kari Russell-Pool near their home in Essex, Connecticut. They have two wonderful children, Phoebe and Kay, and two above average dogs, Pixie and Roux. “I strive to be an artist first and a hot glass sculptor second. Although I primarily work with glass, a material most commonly viewed as a craft material, I strive to make content driven work that stresses the idea at its core rather than the seductive material it is made from. Glass is a fantastic material to create work with. Once you get past the expansive technical difficulties of working with this material, it offers the creator almost endless possibilities for form, color, and content.”

http://www.marcpetrovic.com/

The Ken Saunders Gallery was inaugurated in August 2009 after twenty years as the Marx and Marx-Saunders Galleries. Ken Saunders joined the gallery in 1995 and in 2013 continues to be an enthusiastic and vigorous advocate for the Studio Glass Movement. The gallery exhibits sculptural works by the most innovative artists working with glass in the world. Located in the heart of Chicago’s River North Art District since 1995, the gallery was renovated in 2009 to ensure the best possible display of the ambitious artworks the artists create. The gallery is proud to have mounted significant exhibitions for many of the most distinguished artists from the Studio Glass Movement. A commitment to documenting every show the gallery mounts has lead to an archive of exhibition catalogues that traces the evolution of the movement.

http://kensaundersgallery.com/

JURORKen Saunders

Owner, Ken Saunders GalleryChicago, IL

6512 23rd Ave NW, Ste 329Seattle, WA 98116

T: 206.382.1305E: info@glassart.orgwww.glassart.org

BOARD OF DIRECTORS 2012 - 2013Jutta-Annette Page (President), Jay Macdonell (Vice President), Roger MacPherson (Treasurer), Caroline Madden (Secretary), Alex Bernstein, Chris Clarke, Lance Friedman, Geoff Isles, BJ Katz, Ed Kirshner, Peter Layton, Jiyong Lee, Cassandra Straubing, Shannon Piette (Student Rep)