wild geese the irish in america

WILD GEESE: THE IRISH IN AMERICA

BOYD SMITH, BRISCOE,BROLLY, COTTER, DOUGHERTY, FLYNN, GILHOOLY, HYNES, KELLEHER, KERRIGAN, LYNCH, MADDEN, MOORE BESS, O’CONNOR,O’MEALLIE, McDONAHRUBALCAVA WILLIAMS, SHEA, STANKARD, STOKES.

WILD

GEESE: TH

E IRISH

IN A

MER

ICA

CURATOR’S STATEMENTKEVIN O’DWYER

Legend has it that Saint Brendan left Ireland in the sixth century in a

leather-covered boat in search of the ‘promised land’. His seven-year voyage

eventually found him on the shores of North America. Christy Moore’s song,

St. Brendan’s Voyage describes his eventual arrival:

When he grew short on candles

He was forced to make a stop

He tied up at Long Island, put America on the map

Since that initial voyage, the Irish have been leaving their native shore to

seek the ‘enchanted land to the west’. The voyage to America was perhaps the

last great westward migration of the Celts. Like the many Irish who left their

native shore, my family was no different. My father along with his two broth-

ers left a small farm in Tipperary and arrived at Ellis Island in the 1920s, just

in time for the Great Depression. Their stories, and the shared recollections

of other members of the immigrant community, have always enchanted me

and form some of my strongest childhood memories. Over the years, I have

found that the collective memories of Irish-Americans form a common bond,

a link that has drawn us together to share a story, a memory, and our sense

of humour.

Wild Geese: The Irish in America is an exhibition that celebrates the creativity

of immigrant sons and daughters as well as those who have left their native

shore in recent years. The exhibition looks at the contribution that the artists

are making in the contemporary craft world. Their artistry, innovation, and

craftsmanship are exceptional. Like their ancestors, they travelled far and

have been influenced by the world around them. Some can trace a definite

connection to their past while others celebrate the difference. The common

link is their heritage, vision, and passion for their art. For many it is a home-

coming. For me, it is an opportunity to share the past and look to the future.

Welcome home!


The phrase ‘Wild Geese’ has its roots deep in Irish history. It refers to the

emigration of a great number of able-bodied young Irishmen from Ireland in

the seventeenth and eighteenth centuries. The exodus began in 1607 when

outlawed rebel leaders, Hugh O’Neill, the Earl of Tyrone, and Hugh Roe

O’Donnell, the Earl of Tyrconnell, fled to France with ninety-nine other

influential Irishmen of Ulster. This exodus became known as the Flight of

the Earls. The possessions of the insurgents were forfeited and the Crown

established the Plantation of Ulster, in which the ancestral homelands of

the Irish were distributed among English and Scottish Protestant settlers.

Many Irishmen, especially those who had fought in the rebellion, fled to

continental Europe, often to France. Throughout the seventeenth and eigh-

teenth centuries, the Catholic French were sympathetic to the Irish cause

and often smuggled luxury commodities to Ireland in exchange for high

quality Irish wool and Irish military recruits. The recruits were euphemisti-

cally referred to in the ships’ cargo logs as ‘wild geese’. The name stuck, and

the emigrants came to be popularly known as the Wild Geese. Once abroad,

the exiles frequently entered military service forming the Irish Brigades

which became famous in the armies of several European countries. The Flight

of the Wild Geese came to signify the exile of Celtic Ireland, the anguish of

which was expressed by the poet Emily Lawless in With the Wild Geese (1902).

Over the centuries, as wave after wave of emigration continued, the

phrase Wild Geese developed a broader meaning. It came to refer to the Irish

diaspora – some 80 million people worldwide, but especially in America –

consisting of Irish emigrants and their descendents. This larger group was

acknowledged by the Irish Government in 1998 when the Constitution of

Ireland was amended to read ‘furthermore, the Irish nation cherishes its spe-

cial affinity with people of Irish ancestry living abroad who share its cultural

identity and heritage.’ By the time that America declared independence in

1776 the Irish had already become part of the fabric of society. Several of the

56 signatories of the Declaration of Independence had Irish connections:

the parents of Thomas McKean were Ulster-Scots who came from Ireland as

children; George Read’s father had been a wealthy English resident of Dublin;

Matthew Thornton and James Smith were both Irish born and came to

America with their families as young children. George Taylor was also born

in Ireland and immigrated in his early twenties as an indentured servant,

becoming an ironworker at Warwick Furnace & Coventry Forge.

Throughout the history of America, craftsmen have travelled from Ireland

to seek a means of livelihood. The Irish-born silversmith, Philip Syng (1703-1789),

set up shop in Philadelphia in 1726. Syng was a friend of Benjamin Franklin

and founded a number of early Philadelphia’s cultural institutions; he was

also elected to various public offices including city assessor, warden of the

port, and treasurer of the city and county of Philadelphia. He produced silver

bowls, tankards, teapots and trays, and gold belt buckles, buttons and tea-

spoons, but his most famous work was the inkstand that he made for the

Pennsylvania Assembly, which was then used by the signers of the Declaration

of Independence and the US Constitution. The Declaration of Independence

was even printed by an Irishman – John Dunlap from Strabane – who was also

responsible for printing America’s first daily newspaper.

The Irish played their part in the American Civil War, most famously

under Brigadier General Thomas Francis Meagher as the 69th New York

Volunteers, a 3,000 strong regiment made up of Irish immigrants, who were

flooding into the United States following the Irish Famine (1845-50). The

‘Irish Brigade’ forced the retreat of the famed Lousiana Tigers, an event for

which General Robert E. Lee gave the regiment its nickname ‘The Fighting

69th’. The brigade was immortalized in the film The Fighting 69th (1940)

starring James Cagney and Pat O’Brien.

In many instances the Irish diaspora in America has been the guardian of

Irish culture. Irish traditional music, for example, was more or less exported

to America during the Famine, where it was fostered and developed by Irish

immigrants. The Taylor brothers, originally from Drogheda, arrived into NY

around 1872 and set up shop in Philadelphia. They combined their skills in

wood turning, silversmithing, reed making, and engineering to produce a set

of uileann pipes that became known as the concert pipes. The earlier parlour

pipes were suitable for intimate performances in the home, but lacked the

volume required to fill the American concert and vaudeville halls. A later

Irish immigrant Patsy Touhey (1865-1923), known as the King of the Pipers,

played on a set of pipes made by the Taylors and became one of the first Irish

musicians to record his music. In the twentieth century, when Irish music

made the return journey across the Atlantic triggering a revival of traditional

music within Ireland, Taylor sets were copied by many Irish makers

The patchwork quilt crossed the ocean with the Pilgrim Fathers in antici-

pation of cold winters ahead, and but it was the Americans who raised it to

the status of textile art. Quilts were made by the relatively prosperous women

on the East coast of America to give to family members who were going west.

They couldn’t take much with them, so the quilts were often the only pre-

cious thing that they had – a reminder of family ties. An amazing revival of

War battered dogs are we,Fighters in every clime;Fillers of trench and of grave,Mockers bemocked by time,War-dogs hungry and grey,Gnawing a naked bone,Fighters in every clime.Every cause but our own.

INTRODUCTIONELEANOR FLEGG


patchwork, which began in America in the 1960s, has returned full circle and

is now blossoming in Ireland.

The Wild Geese of the current exhibition have two things in common:

all work to the highest standards in the applied arts, and all have Irish roots.

Some are Irish born; some are the descendents of the earliest settlers. Some

can trace a clear link between their work and their Irish past, but for others

it’s a subtle connection that carries no obvious weight. In most cases where

an association exists between the origins of the artist and their work, it has

been married with the American tradition to produce something that tran-

scends either culture.

‘Irish Americans have a naive romantic’s relationship with Ireland,’ says

Paul Stankard, whose Irish roots go back to the early 1700s. ‘At least my family

did, now that I look back. My Irish family loved Ireland, especially my mother,

and my father was mad as hell that Ireland was exploited and couldn’t feed

her young. The family stories were about hard work to establish our selves in

America. Education, education, education... My own take on Ireland is her

literary tradition and the work of James Joyce, among others and how he lay-

ered a depth of human feelings into words. In my work I hope to reach that

level of intimacy with my interpretation of nature in glass. My work is about

sex, death, and God; I express these feeling through the life cycle of plants

translated into glass. I also love Celtic spiritualities, her superstitions, and

think of the mysteries of nature as it was celebrated in ancient times.

The glass offers me the opportunity to articulate the quite timelessness of

living things and I think of the Orb as holding the songs of Mother Ireland.’

Much of John Boyd Smith’s work reflects the plant life of Savannah,

Georgia, where he lives and works, but his lifelong passion for forging metal

came, indirectly from Ireland. It began when, rummaging through an old

storage shed on his family’s property, he found the collection of antique

blacksmithing tools left behind by his great-great-great grandfather Patrick

Hoy, a master gunsmith, who came to South Carolina from Ireland in 1804

and settled in Spartanburg. Using forging techniques that have been in use

for centuries, Boyd Smith became a blacksmith and an artist, shaping heated

raw metal with hammers to create a piece that interprets a single element of

nature as simply and accurately as a nineteenth century botanical drawing.

Few artists can claim to have picked up the tools that their ancestor

brought from Ireland; in most cases it’s a subtler interchange. Sometimes

treasured objects can prove inspirational. ‘My grandmothers were both

French, but also half Irish,’ says Sydney Lynch, jewellery designer. ‘One had

a wooden trunk that she would occasionally open for me, containing a treasure

trove of luxury items saved for decades: hand-embroidered silk kimonos,

beaded evening bags, brocade opera coats, silk nightgowns from China with

beautifully hand-crafted details. My grandmother’s love and appreciation for

finely-made beautiful things made an early impression on me. She belonged

for fifty years to the Art League, a ladies’ group of women who painted,

sewed, made silver jewellery, ceramics, and other handicrafts. It was she who

introduced me to the enjoyment of making things by hand.’ Lynch’s own

work, expressed in bold, simple shapes and using materials that range from

dinosaur bone to diamonds, reflects a passion for colour, for rich surfaces

and for intriguing shapes. She continues to be inspired by tribal and ancient

jewellery that illustrates the human need to arrange found objects in new

and personal patterns.

Despite her Irish ancestry, the basketry of Nancy Moore Bless has developed

through her passion for and connection with Japan. Although Irish basketry

has no bearing on the design of her work, she finds that some techniques

that she learnt from books about Irish crafts have helped her teach her craft.

‘One book was about weaving with rushes. The author showed how to tie a

basket base over a container and weave directly up the sides, cut the ties, and

slip the completed basket off the desired form. I use that technique all the

time and teach it to my students. The second book showed a craftsperson

driving stakes into the ground and then weaving the sides of the basket from

ground up, with the inverted bottom woven last. When the basket was com-

pleted, it was lifted up and turned over.’

An artist who makes wearable sculptural reliefs, Harold O’Connor is

descended from John O’Connor who immigrated to New York in the 1880s.

Despite several generations of separation between the artist and his Irish

roots, his work is influenced by the work of the gold and silversmiths of

ancient Ireland. ‘I teach several surface embellishment techniques in my

workshops, among them the ancient process of gold and silver granulation,

which the Celts and early Irish silversmiths used in the ornamentation of

their jewellery,’ says O’Connor whose use of granulation in a contemporary

context has helped to make his name in the metal arts.

Memories of Ireland can prove an ongoing presence in immigrant families,

something handed down through the generations. Such heritage, although

without obvious bearing on the development of an artist, is not without

influence. ‘My parents left Ireland in 1930 when they were both young,’

woodturner Michael J. Brolly remembers, ‘and although they grew up only

On the other side of the Atlantic, the hands-on aspect of life in rural

Ireland was to prove both a practical training and an inspiration for Caroline

Madden, who builds sculptural objects for installations in cast glass, metal,

and wood. Madden traces her love of building back to her memories of child-

hood trips to her grandparents’ home in Annabradigan, County Leitrim. ‘My

memories begin with summer holidays at grannies’ house, rebuilding stone

walls after the cows had knocked them down due to an overzealous itching

session; mixing mortar and handing cement blocks off to my father; and

harvesting hay and turf. It is these activities that seem to still infuse my

aesthetic: both the building process and fellowship through working together

with others that are important to me and give meaning to the work.’

It is easier to trace the Irish influences of the more recent Wild Geese. The

textile artist Rebecca Williams was brought up in the Dublin Mountains. ‘It’s

an area covered in a patchwork quilt of fields, bordered by trees and rocks,’

says Williams. ‘It’s a spectacular view, and one that still heavily influences

my work. My other major influence was my mother, Magda Rubalacava.

When I was a child, she was always crocheting, which meant that there was

a lot of scrap yarn hanging around. My parents gave me a small loom for my

birthday, and I would use up all the scrape wool to make belts, ribbons, and

very narrow tapestries. With my mother’s encouragement, I started to weave

my tapestries on larger frames, old window frames to be precise. Then she

started to weave tapestries herself, and so we propelled each other along.’

Even more recently, glass artist Paula Stokes moved to the States in 1993,

although she describes her cultural legacy in terms of outlook rather than

landscape. Stokes feels that she is influenced by the Irish attitude to death

and the passage of time. ‘Culturally, the Irish embrace death with resigna-

tion, accepting it as part of life. I have become more aware of the fragility of

life and my physical being. In my work I want to create compositions that are

organic, delicate, and sensual, evoking a sense of an alternate landscape; one

that is both strong and fragile; an altered perspective.’

By nature, cultural exchange is a two way process, and the Irish legacy

has to be seen in the context of American opportunity. Anne Hynes, who grew

up in Dublin and graduated from NCAD in 1994, spent time working with

glass artists in Sweden, France, and Australia before moving to New York in

2001, where she has been living since. ‘It’s very hard to say how living in

Ireland, Australia, or the States has influenced my work. I imagine that the

main thing about living in the US has been the access to wonderful facilities,

supplies, opportunities, and people. I have been inspired by witnessing many

of my peers making a living from their craft and artwork.’

fifteen miles apart in County Derry they most likely never would have met if

they had stayed in Ireland. My grandfather, who just about everybody loved

dearly, was killed in a farming accident in 1957. People were so saddened by

this that no one could bring themselves to write to family in America to tell

them about it. It did not matter, for my mother knew by the knocking that

came in the middle of the night, as did Uncle John. Eventually visitors came

bearing the sad news and validating my mothers and Uncle John’s fears.

Anyway I was so enamoured with the old sod that my parents took me there

in 1963 when I was thirteen. It was a watershed experience for me. I grew up in

Philadelphia, and when we got to Ireland most of my relatives there still had no

electricity or running water. They cooked and heated with turf. I saw gypsies

camped in my uncle’s field with a real horse-drawn caravan. I helped to pick

potatoes and build rock walls and milk cows. I was in love, I had experienced

my legacy, I have never gotten over it, and for that I am eternally grateful.’

When Robert Briscoe visited Ireland 2003, he finally understood the per-

sistent longing for Ireland that he heard from his mother’s clan as he grew

up. ‘My mother’s great-grandfather was Hugh McLaughlin, who was born in

County Cork in 1827. He was a sailor who came to America as a member of the

U.S. Navy, probably agreeing to serve in order to acquire passage, and settled

in Kansas City where he became a political ‘godfather’, nicknamed ‘King of

the Patch.’ I’m not aware that my Irish heritage has any impact on my work,

but my entire family did have an openness to art that was unusual in Kansas

City. My ancestors were sailors and fishermen when they were in Ireland. I

live in Minnesota, about as far as you can get from the ocean. We have lots of

big sky and woods. I truly enjoy the generosity of space and I know that the

geography of my home does have an impact on my work.’

Similarly, although Pat Flynn’s jewellery has an unselfconscious air of

the Celtic about it, he sees no direct Irish influence in his work. ‘I’m interested

in the underlying tension that results from combining disparate materials

such as steel and diamonds or gold and steel, in organic forms. My hope is

that my work will go out into the world and communicate for me,’ says Flynn,

whose great grandfather came to America from Cork, Ireland. He settled in

north western Pennsylvania in a sod house, and worked as a farm hand. ‘His

son – my grandfather – also worked for a farmer saving carefully he was able

to eventually purchase a farm from the Lawrence’s in 1904 for $1,800. This is

the farm I grew up on. My father, Clare, bought the farm from his father. To

make ends meet my dad worked on the railroad stoking steam engines with

coal while he ran the dairy farm.


Sometimes the family name, and the stories that go with it, are all that

remains of Irish origins. Sean O’Meallie’s brilliantly constructed wooden

sculptures combine a sense of barely suppressed laughter with a technical

proficiency probably owes more to his previous incarnation as a toy designer

than to his Irish roots. He remembers that his father, who ‘was raised

Protestant, rejected the church and all authorities, and wore an orange patch

on his sleeve every Saint Patrick’s Day’ travelled to Ireland to trace the unusual

family name, assumed to be a version of the widespread O’Malley. Although

he died without writing down his discoveries, it seems that the Mealy’s were

sea- farers and were not part of the O’Malley clan. ‘Since visiting old Eire, I’ve

wondered if in the old Irish language two brothers might spell their names

differently simply to denote which side of the road they lived on. Perhaps it’s

an Irish flight of fancy that allows me to envision this. I do enjoy language,

humour, beer, and wild imaginings, and I gladly toast my Irish heritage for

this obvious genetic advantage.’

‘My work really has nothing to do with where my ancestors came from.

After all it has been a hundred and fifty years, and nobody really mentioned

it much,’ says David Gilhooly who, although best known for The Funk

Ceramic Movement, has given up clay completely to work on what he calls

the shadow boxes, which evolved from his work in Plexiglas. ‘The Gilhooly’s

were coal miners in Country Antrim and came over during the famine to run

bars in Ohio until my grandfather got fed up with his family and disappeared

to Los Angeles. My grandmother’s side were Fagens, Jews whose family tradi-

tion had them coming to Ireland with the Romans, although I’m pretty sure

they were actually gypsies. They came to the States about the same time and

were notable for running a combination dairy and bar in Aurora, Colorado

and for being musicians. My grandmother met my grandfather in LA.’

Although Gilhooly’s work has purely North American roots, his name

has been a constant Irish presence in his life. ‘It has been a way for people to

approach me. The favourite way is to ask ‘Is your name Irish?’ always with a

smile because they already know the answer. Much better than something

like ‘Damn! You do have about the world’s biggest nose!’

ARTISTS

ROBERT BRISCOEMICHAEL J. BROLLYJAMES E. COTTER PATRICK T. DOUGHERTYPAT FLYNN DAVID GILHOOLYANNE HYNESMATT KELLEHERTHOMAS KERRIGANSYDNEY LYNCH CAROLINE MADDEN NANCY MOORE BESSHAROLD O’CONNORSEAN O’MEALLIETEDD R McDONAHANDREW SHEAJOHN BOYD SMITHPAUL JOSEPH STANKARDPAULA STOKESREBECCA RUBALCAVA WILLIAMS

The exhibition opened in the National Craft Gallery Kilkenny, Irelandon 30th March 2007

Looking back, I realise that choosing to be a potter

in the late 1960s was less about being an artist or

seeking self-expression than about dealing with the

social and political turmoil of that period. I saw

being a potter as my best chance to live an authentic

life, to be a fully integrated person – physically, men-

tally, and creatively.

At some point, I realized that there was more to

being a potter than continuing the cycle of making

and selling objects to people, that there is a power

conveyed through a beautiful, useful object.

Recognising the tangible connection between user

and maker, I fell in love with pot-making again.

My purpose in making pottery expanded beyond

meeting my own needs, and began to include con-

tributing to the savouring of life by others. I began to

focus more on my pots as part of the simple, joyful

rituals of life – the sharing of food and display of

flowers. This focus made me work for an increasing

subtlety and nuance that would be revealed over

time and use. Today, I work to make simple, sensual

pots, with quiet but robust surfaces, made in a scale

meant to convey generosity.

ROBERT BRISCOECeramics


Below: Noodle BowlStoneware clay, wood ash glazed over crackle slip 10cm h x 14cm w x 14cm d

Right: Fluted VaseStoneware clay, woodash glazed over crackle slip 12.7cm h x 22.8cm w x 12.7cm d

The story has oft been told how I came home from

my first day at kindergarten and announced that I was

going to be an artist when I grew up. To my, and every-

one else’s, amazement I seem to have done just that.

Thinking of My Mother-In-Law Marianne and Those

Magnificent Mahogany Breasts was actually the impe-

tus for me to take my mother to Africa to visit her

sister, who was a missionary nun in Zambia at the

time. While we were there, a priest we met asked me

where this talent of mine came from. I answered: ‘You

mean besides the obvious, that it was God given? That

and the fact that my parents were originally farmers

and could fix or make just about anything.’

The answer seemed to appease him, but the ques-

tion lingered in my mind and got me thinking – just

where did this talent come from? Now I realise that

all cultures have artists but, for such a small island,

Ireland sure has seemed to produce its fair share of

talent, which is why I’m so honoured to be included in

this show. Art, for me anyway, is a celebration of man’s

higher aspirations. To be asked to participate in a sort

of homecoming from the Diaspora is, in a word, hum-

bling. My parents always encouraged and supported

me in my struggles to stick with this art thing and this

show, in a very wonderful way, helps me to say:

‘Thanks for a wonderful life’.

MICHAEL J. BROLLYWood


Right: Thinking of My Mother-In-Law Marianne and ThoseMagnificent Mahogany Breasts Mahogany, Maple, Walnut, Ebony, Cherry, Brass, steel, Ball andRoller Bearings, Magnets, Suede150cm x 71cm x 51cm

My work consists of creating images from a

variety of materials not normally associated with

jewellery such as steel, concrete, rocks and everyday

objects.

It was in 1964 that I first incorporated rocks into

my jewellery. I have always found them to be a chal-

lenging material to work with; one cannot erase

mistakes left by the mark of the maker. In a number

of the pieces I set the rocks as a traditional jeweller

would set a gemstone. In other pieces the entire

rock is used, carved into a ring with diamonds

embedded into its surface. In these rings a thin

band of gold lines the interior. While most jewellers

set stones in metal, I set metal in stones. Cement is

another material that intrigues me; the notion of

taking a material used to build massive and power-

ful architectural structures and breaking it down

into a delicate sensuous piece of jewellery.

I’ve often been torn between loyalties to art and

craft but have come to the conclusion that the

distinction really does not matter and is no longer

necessary. Just as one does not buy a painting

because of the number of tubes of paint brushed

on the canvas, jewellery is not merely the sum of its

intrinsic materials. I enjoy the idea of combining

disparate materials to assert that jewellery doesn’t

have to be precious metal or gemstones, and can

survive outside the common perceptions of what

properly constitutes jewellery.

JAMES E. COTTERJewellery


Right: Miraculous Metal Pendant concrete, antique Red Cross pin, healing dirt, glass, steel,sterling silver65mm x 10mm

Left: Concrete and Pearl Ring concrete, pearl, 14K gold30mm x 15mm x 38mm

I construct large temporary structures, built on

site from tree saplings gathered in the nearby land-

scape. Snagged together without the use of tools or

any supportive hardware, these sculptures respond

directly to their surroundings and interact with

a particular space to build drama and visual

excitement.

My sculptures are about gesture, motion, and

the movement of line and force through space. The

actual construction process is not a sedate studio

activity; instead, it is one that uses large motion and

the entire body. The physicality of the process is

evident in the final sculptures.

I believe that an artist’s childhood shapes their

choice of materials. For me, it was exploring the

underbrush of my hometown in North Carolina, a

place where tree limbs intersect and where one can

imagine all kinds of shapes and speeding lines in the

mass of winter twigs. When I turned to sculpture in

the early 1980s, it seemed easy to call up the forces

of nature and incorporate the sensations of scoring,

sheering, and twisting into the surfaces of my sculp-

tures. The saplings, so plentiful along my driveway,

became the raw material with which to sketch out

a series of large gestural forms. Using the shafts of

a branch one way and the finer top ends in another,

I developed a body of work that I have come to think

of as Shelters of Transition.

PATRICK T. DOUGHERTYSculpture


Right: SpinoffsSaplings were maple 21.5 meters high

DeCordova Museum and Sculpture Park in Lincoln,Massachusetts in 1990Photography: George Vasquez

I want my jewellery to be worn everyday through

life, to develop the patina of the wearer. I want for

the jewellery to go out and work, to be on its own,

to communicate for me.

What attracts me to my work is the dichotomy

between materials and processes. The wildness of

forging, juxtaposed with elegant goldsmithing tech-

niques. I am interested in the tension that results from

combining disparate materials – such as steel and dia-

monds, or gold and steel – into organic jewellery forms.

The beginning stages of creating my work are akin

to blacksmithing. With powerful hammer blows, I

work the hot steel on the anvil. Later processes are

smaller scale; controlled, precise jewellery techniques

involving stone setting and gold work. The final step

is to oxidize the work black, which creates a dynamic

contrast between the steel, gold, and diamonds.

PAT FLYNNJewellery


From left to right: Tapered Diamond Cuff Forged Steel, platinum, 18k gold nameplate, 1/3 carat diamonds2.54cm x 5cm x 5cm

Gold Dust CuffForged steel, 22k gold, 18k gold nameplate 2.54cm x 5cm x 5cm

Monolith BroochForged and fabricated steel, 22k gold, 18k gold, platinum, diamonds7.62cm x 2.54cm x 2.54cm

I used to make frog things. That’s something

that started and ended a long time ago, but their

popularity still follows me around.

The past is a skeleton. So is the future. One walks

ahead and the other walks behind. Once in a while,

on an occasion such as this show, I sit down in a bar

with the skeleton of the past, have a drink, and

throw together whatever is of interest at the

moment…

That is, I make some things from the past that I

can stand stealing from my past self! Though, once

in a while, I even make something new...

Frogscones!

DAVID GILHOOLY Ceramics


Left: Big MacClay20cm x 15cm x 15cm

Right: FrogsconesClay9cm x 9cm x 9cm

My background as an artist includes not only

glass art, but also print and graphic design. These

two disciplines are the strongest influences on my

approach to glass.

In both print and graphic design, the line is a fun-

damental unit. Lines are etched or drawn, and form

the visual basis for shape and area. The notion of

simple lines is not common in glass art, partly

because glass is worked with in liquid form, and

partly because of the sculpture-like nature of glass

art. To shape and mould glass requires high temper-

atures. Many of my pieces have to be worked with

directly by hand at temperatures of 1500 degrees

Fahrenheit. Delicate lines are not often found in

such conditions.

Line drawings typically exist ‘on’ something. They

are drawn on paper, etched on copper, or mapped on

a computer screen. My work tries to elevate the line

off the paper and into space, creating free-standing

lines. Because the glass is transparent, the light pass-

ing through the glass serves to redraw the lines as

shadows on the wall behind them. The glass and the

bubbles within the glass complement the line, mak-

ing it something more than a simple line drawing.

This limited edition series is a set of copper line

drawings encased in glass. The images are inspired

by, and taken from, a series of figure drawings. I have

chosen figures for this series because of the simplici-

ty and elegance of the shape of the human body.

ANNE HYNESGlass


From left to right: Life Drawings in GlassClear glass and copper wire 14cm x 20cm panels

Utilitarian objects are accessible and universal;

their forms are recognisable and their utility makes

them inclusive. I develop my forms by considering

the requirements of utility, and then challenge

these assumptions by altering the design. Often

compositional elements – volume, line, centre of

gravity, edges, spouts, handles, feet, or lids – may

all be altered in subtle degrees. I search for a poised

form that captures the essence of utility.

Surface is created for contemplation; moods are

suggested with warmth, fluidity, and translucency.

Atmospheres are veiled with fog and cool mist. The

vessels are covered with slip. Pouring and layering,

I respond intuitively to the qualities of liquid, and

glaze is applied over the slip to achieve two different

results. On some forms, I choose to pour glaze to

mimic the gesture of the slip, on others I arrange

glaze with controlled marks to punctuate the compo-

sition. Most of my work is fired in a soda kiln; a small

number of pieces in a wood kiln. The firing atmos-

phere dampens the surface, the slip warms up, and

layering is revealed. Then the relationship between

the form, the firing, and my hand is complete.

My work is built on consideration. I combine a

subtle balance of geometry in form, a comparison

of symmetry and asymmetry in decoration, and a

serene surface. Softly, the work asks for the viewers’

attention. Each piece is ready for a conversation and

willing to be part of a greater surrounding.

MATT KELLEHER Ceramics


Right: Slab VaseSoda-fired Stoneware42cm h x 23cm w x 21.6cm d

I think of art as physical manifestation of vibra-

tions of the soul.

My current body of work is a reflection on the

essence of desert with a major focus on the indige-

nous flora of the desert, which often is very sensual

and erotic. This is a springboard for addressing larg-

er issues of internality and mystery. For the past

fifteen years I have lived in Arizona, and before then

I made frequent trips to the desert, which is a source

of spiritual sustenance for me. I find that its grand

simplicity speaks to a primordial cord within me.

The works in this Desert series are all constructed

using the pinch method. I take small dabs of clay

and slowly built up each form to completion. I use

two types of clays; one is a terracotta and the other

an off-white sculptural body. Often I will leave the

terracotta pieces unglazed, as the richness of the

fired colour is very beautiful.

Some of the sculptural forms are quiet and medi-

tative in countenance while others are bold and

direct. I am intrigued by spaces which are non-acces-

sible to the human eye but which are accessible to

the human spirit. I feel like the textural forms

entice the human spirit to penetrate the interior

and bathe in an unknown, yet vaguely familiar,

environment. The juxtaposition of forms creates

a dialogue which slowly moves toward meditation.

THOMAS KERRIGAN Ceramics


Left: Desert Flora XXIVUnglazed Terra Cotta142cm h x 61cm w x 11.5cm d

Right: Desert Sunset IVEarthenware with glazes and stain25.4cm h x 44.5 diameter

My jewellery combines bold, simple shapes,

reflecting an organic geometry, using texture and

surface patterns for tactile and visual interest. For

me, working with the materials is the most exciting

part of the process. Simply put, I like making things.

Give me some metal and a pot of good coffee, and

I’m ready to go.

My design vocabulary derives from a range of

sources which reflect my own interests: the natural

forms of rocks and seashells that I’ve collected since

childhood; the lines and contours of landscapes

where I’ve lived and travelled; the rich surfaces and

intriguing shapes that I find in weathered areas of

the city. As a transplant to the Great Plains, I have

been inspired by the subtle, repetitive forms found

in the flora and wild grasses of the prairie. In minia-

turising the vast, open landscape by creating these

pieces of jewellery, I am able to focus on details of my

surroundings which might otherwise be overlooked.

My jewellery designs tend to be abstract, leaving

the wearer open to create a personal, intuitive

relationship with the piece. Wearability is always

a critical consideration: my jewellery need to be

comfortable and graceful as well as sculptural,

strong, and well crafted.

SYDNEY LYNCHJewellery


Left: Hibiscus pendantoxidized sterling, 18k gold, tourmaline beads7.62cm long

Right: Prairie Grass necklaceoxidized sterling, 18k gold, chrysoberyls6.35cm long

The love of building relates to my earliest child-

hood memories, beginning with summer holidays at

granny’s: rebuilding stone walls after the cows had

knocked them down due to an overzealous itching

session; mixing mortar, and handing cement blocks

off to my father to build our home in Leitrim; and

harvesting crops. It is these activities that seem to

still infuse my aesthetic sensitivities. Both the build-

ing process, and the fellowship generated through

working with others, are important to me and give

meaning to the work.

This body of work is a direct response to my recent

visit of Lough Boora Parklands in Ireland. The

Parklands are a regenerative project of Bord na Mona,

as a gift to the community that is both pioneering

and philanthropic. The work attempts to convey the

essence of my experiences of this special place:

Reflective, tranquil, waterways

Culture, heritage, mythology

Wildlife, swans, regal,

Walkways, toghers, travel

Flora, seeds, regeneration

CAROLINE MADDEN Glass


Image: Reflections of Lough Boora IIBlown, solid and cold- worked glass form 40cm long x 15cm diameter approximately plus slate

What is it about jars that make them so appealing?

Much of my work over the last twenty years has been

about the potential of mystery and containment in

basketry. I use lids and closures to imply that,

though there is something inside my vessels, we

aren’t allowed access to that space and those myste-

rious contents. While my woven forms reflect my

continued interest in Japan, the inclusion of secrecy

in my work comes, not from Japan, but from Africa.

Japan, Africa, and India provide overlays to the

influences of a Californian childhood. The pantry

there was filled with the colour of canned peaches,

the amber jars of fresh honey, and the glistening red

of pomegranate jelly. An old green tea tin of my

Granma Maggie sits in my kitchen. One of my

mother’s button jars is now mine, as are her Pomo

baskets. In my studio, there are new jars of pebbles

collected from Kyoto garden paths and California

beaches, as well as crocks of spooled silk thread.

The jars I have woven reflect where I am now in

my life. These are forms whose texture invites the

observer to touch. These are jars to draw you inside

and make you wonder what secrets I have placed

there. These are pieces designed to make you dream

of other places and, perhaps, other times.

NANCY MOORE BESSBaskets


Left: Kanji JarWaxed cotton and linen, wooden lid, Japanese book page 12.7cm x 12.7cm x 12.7cm

Right: New Delhi JarsWaxed cotton and linen; Indian lids, beads, and wooden boxTallest basket: 23cm x 10cm x 10cm

Photography: D.James Dee

I have been a metalsmith for over forty years now.

I have taken many design directions and used many

techniques, among them the ancient process of gold

and silver granulation.

Granulation is a surface embellishment method

in which scores of minute metal beads are fused to a

metal surface to produce an ornate surface pattern. It

is a method of decoration that has been used for over

5,000 years by craftsmen around the world. Simply

stated, small filings or chips of metal are heated on

charcoal to make them round; the small beads are

then coated with a mixture of metal oxide and natu-

ral glue, and each bead is placed individually in

place. The mass of beads are then fired under heat to

form a permanent bond with the parent metal. It is

this process, used in a contemporary way, which

has made a name for me in the metal arts world.

My designs are inspired from my environment,

travel to exotic countries, and observing various

aspects of society. I started travelling when I was

thirteen years old, and have done so all my life. I

enjoy integrating classical techniques into contem-

porary forms, and use both pictorial and abstract

form in my creations. I am interested in the essence

of a material – not its intrinsic value.

Doing what you love for a living is a great gift. I

travel, I look at things, I attend workshops myself.

There’s always something new to try, that’s the

beauty of it.

HAROLD O’CONNORJewellery


Left: Broochl8kt silver and Spectrolite5cm x 6.5cm

Right: Broochl8kt silver and Spectrolite 4cm x 6cm

What can be said in an artist’s statement? I make

objects. They disappear. I make more objects. It’s like

potatoes…

I know that when I make something it forms at the

tip of everything that I know or think that I know,

along with some other things. This usually happens

in front of me, by way of a lot of pushing and pulling.

And when finished and set out there, the object does

something. It alters space and maybe occurrence.

I don’t know why I do it entirely, but I have my

suspicions it’s about altering a landscape and influ-

encing future events in a primordial and fresh kind

of way. I only hope that good comes from it.

Making art is like flower arranging. I try to arrange

all the flowers well and freshly, as I know that I work

in an entertainment business. And, as I learned a

good deal about the semiotics of spatial displacement

when I was employed as a toy inventor, I often try on

this old mantra today: ‘Draw the eye; delight the

heart; tickle the intellect’, but not always.

SEAN O’MEALLIEWood


Left: A Vase of Colorful SticksHardwood, acrylic, wax, found glass 84cm x 53cm x 53cm

Right: 25 Varieties of Potato Organized into a Gridhardwood, acrylic, wax. 61cm x 61cm x 12.7cm

There is an ambiguity in my work, or, at the very

least, indecision. In some respects I perceive jew-

ellery and fishing lures to be quite similar. First,

there is the attention-seeking factor. And then,

although not so obvious, the properties of shiny

(or not shiny) metal objects as social-status symbols.

‘The lure’ certainly makes references to jewellery

and fishing simultaneously, however, neither word

is an appropriate title. I think I’ll call it ‘Fewelry’ or

maybe just ‘Lurewelry’…

Having been recently reacquainted with black-

smithing, I’ve also discovered that ‘traditional’ is a

relative term. Most of my work shares a basic set of

technical processes – forging, forming, cutting,

welding, grinding, and swearing (expletives are the

most traditional but the least technical). Chiefly, I

rely on the most basic of blacksmithing skills and

integrate them with my pleasure in working intu-

itively, along with incorporating, at times, available

found objects that I think will lend themselves to

the continuity of a piece. Found objects can provide

great visual interest, sometimes as ‘fillers’ and

sometimes as integral elements of a composition.

The bottom line is, when finished, a new object of

artistic merit should exist, which exhibits my skills

as a thinker and an artist in metal.

TEDD R McDONAHMetalwork


Above: Cockamamie Candleholder IIIForged and fabricated mild steel89cm x 36cm x 30cm

Right: Moke - A - Bou Muskie Lure Sterling silver and copper mokume-gane, sterling silver, nickel silver, pearls, marabou, stainless steel20cm x 10cm x 10cm

There is a long history of forging containers among

artisans. This tradition arose from the need for func-

tional artefacts, as well as an inherent desire to collect

and store that which is precious – be it ordinary water

or exotic perfume.

I have always thought that the perfume bottle was

underrated as a format for artistic expression. It has

so much to offer – form, colour, surface, depth, interi-

or, exterior. The stopper allows an interplay that isn’t

available anywhere else, and the facets are integral to

the piece, they define the form and are the entrance

to the interior

Before I became an artist I studied the sciences –

chemistry, biology, ichthyology – where I learned to

look beyond the surface. I transferred this interest to

the study of fine arts and glass blowing in the early

1970s. I am inspired by molecular and architectural

structures. I love their geometric shapes and the

crystalline forms, and transforming these shapes

into beautiful and functional perfume bottles.

ANDREW SHEA Glass


Left: Perfume BottleRuby and amber blown glass with silver, facetted 41cm h x 9cm x 20cm

Right: VaseAmber double dot, gold topaz, facetted41cm h x 25cm x 25cm

As a young child, I watched my mother nurture

plants, flowers, and animals. Her keen interest in

nature must have had a profound influence on my

young mind, since I now forge, shape, and sculpt

solid metal into forms that emulate the natural

world. I have fashioned flowers, plants, trees,

animals, and insects from hot-forged metals for

more than twenty-five years.

My Irish ancestor, Patrick Hoy, was a superb gun-

smith who came to America in 1804. He forge-welded

hot iron into weapons. I am completely self-taught,

but firmly believe that my ability comes from my

heritage. In this way, I am spiritually forge-welded to

Ireland. I characterise my style of artistry as ‘realism

in metal’ and try to depict realism through

capturing key details, so that the visual impact is

unmistakable. For the Wild Geese exhibition, the

theme of realism is hopefully self-evident. I have

dreamed of coming to Ireland since I was a child,

and now, because of Patrick Hoy, I am coming home.

JOHN BOYD SMITHMetalwork


Right: Marshlands of Savannah Forged mild steel, faux-bronze patina, glass 84cm x 183cm x 109cm h

The opportunity to share my art with the people

of Ireland honours the memory of my Irish ances-

tors. Americans of Irish descent have a unique

relationship with their Mother country. It may be

hard to translate to non-Americans, or maybe not.

My work has been informed by James Joyce

among others and how he layered a depth of

human feeling into words. In my work I hope to

reach that level of intimacy with my interpretation

of nature in glass. My work is about sex, death, and

God and I express these feeling through the life

cycle of plants translated into glass.

My hands have been manipulating glass for over

four decades, and in the beginning, it was about

mastering a craft. Slowly, I found ways to express

a special interest in the plant kingdom, and as the

designs evolved, I found myth under the leaves and

among the roots.

For me personally, as I near the end of my career,

the art work is more personal than at any other

time. I think of my self as a monk in my studio cele-

brating God’s mysteries, and have come to love the

Trinity as mysticism.

PAUL JOSEPH STANKARDGlass


Right: Floating Bouquet OrbGlass20cm diameter

I am interested in the passage of time and its

effect on us as humans. Culturally, we Irish embrace

death with a healthy approach, especially through

our rituals and community support. There is a resig-

nation and a quiet acceptance of its part in life.

This work is inspired by my interest in the organs

of the human body; specifically lungs and the stom-

ach. These objects represent different emotions and

their physical manifestation in the body. I choose to

use blown glass because of its physical properties.

Glass is a membrane that is elastic and organic. It is

very fragile but also incredibly strong. I use it as a

metaphor for life. In creating this work I want to

celebrate the fragility and humanity of life.

PAULA STOKESGlass


From left to right:Lungful # 2 blown glass 48cm h x 20cm w

Laden blown glass 25cm h x 41cm w

Gutsyblown glas 46cm h x 25cm w

When I was a child living in Ireland, I used to

climb a mountain and dream about the world. Now

that I live in the United States, my dreams often

turn towards home and that mountain top. Today,

my tapestries are based on the textures and shapes

that are created in the rural landscapes of Ireland

and the mountains of Southern California. My work

is a marriage of the two countries. It has the reli-

gious imagery of Ireland and the dreams that my

husband, children, and I now have when we walk

in the mountains of Southern California.

I work in an abstract style. Each piece evolves into

an organic shape of its own. Within each shape

there are rhythms of pattern, texture, and colour

that are symbolic of the detail that is in the land-

scape. All of this can be seen in the paths that

crisscross the mountains in both countries. The use

of different materials like thread, wire, cotton, and

wool are very important as they not only help to

create different textures but also help to blend the

colour in my work. This allows me to blend the dark

with the light, to blur the edges of each area, and

therefore to heighten my meditative state of mind

when I am weaving. The irregular shape of each

piece draws the viewer in. The detail and colour

within the tapestry keep their attention.

REBECCA RUBALCAVA WILLIAMS Fibre


Left: Graveyard Cotton, wool & wire62cm x 46cm w

ARTIST’S CVS


ROBERT BRISCOE2785 Stark RoadHarris, MN [email protected] 674 4656

Born in Kansas City, Kansas in 1947

EDUCATION Kansas State University.

SELECTED EXHIBITIONSWarren McKenzie and the Midwest Five, Gallery Gen, New York City, NYFunctional Connections, Lacoste Gallery. Concord, MAAmerican Pottery Festival, Northern Clay, Minneapolis, MNNew York Tea Party, Dai Ichi Gallery, New York City, NYCentering-Clay in the Midwest, Free Hand Gallery, Los Angeles, CAFunctional Ceramics Invitational, Alfred University, Alfred, NYA Glimpse of the Invisible, NCECA 2000 Denver, COAmerican Pottery Invitational, Meiko Seito Gallery, Tokyo, JapanRobert Briscoe, St. Benedict’s College, St. Joseph, MNFifty Years of American Craft, Minnesota Museum of American Art,St.Paul, MNConfluence: The Mackenzie Influence, Continental Clay, Minneapolis, MNRobert Briscoe/Matthew Metz, Lillstreet Gallery, Chicago, ILClay National, Penn State University, State College, PADomesticware, Nancy Margolis Gallery, New York, NY

SELECTED ARTS FESTIVALSCherry Creek Arts Festival, Denver, ColoradoSmithsonian Craft Fair, Washington D C Philadelphia Craft Fair, Philadelphia, PennsylvaniaCoconut Grove Arts Festival, Coconut Grove, Florida American Craft Expo, Evanston, Illinois Kansas City Plaza Arts Festival, Kansas City, MissouriAnnual Pottery Invitational, Demarest, NJ

GALLERIESFreehand Gallery, Los Angeles, California The Grand Hand, St Paul, MinnesotaLaCoste Gallery, Concord, Massachusetts Lemieux Gallery, New Orleans, Lousiana Lill Street Gallery, Chicago, Illinois Red Star Studio Gallery, Kansas City, Missouri

COLLECTIONSWeisman Museum of Art, Minneapolis, MNRacine Museum of Art, WIThe Margaret Harlow collection, Bemidji State UniversityMinnesota State Historical SocietyThe Bindley Collection, WI

MICHAEL J. BROLLY92 Woodlawn Street508 994 5776New Bedford, MA [email protected]

EDUCATION 2007 Master of Fine Arts, University of Massachusetts Dartmouth, Artisanry Dept. 1981 BFA with Honors from Kutztown University, Kutztown, PA

SELECTED EXHIBITIONSHave shown extensively in both the United States and Europe including:Yale University, Minneapolis Institute of ArtThe RenwickMuseum of Art and Design Museum of Applied Arts and Sciences, Frankfort, GermanyMid Career Retrospective Travelled to Eight Sites in US

SELECTED AWARDSOutstanding Alumnus for Kutztown UniversityFirst Place in Sculpture at the Pennsylvania State MuseumBest of Show at the Wharton Eshrick Museum several times

SELECTED COMMISSIONSPennsylvania Governor’s Awards 2002Art and Economics Award’s Philadelphia Business Council 2000Governor’s Gift to President of Sony Japan during Asian EconomicSummit 1999

SELECTED BIBLOGRAPHYWood Art TodayWoodturning in North America Since 1930Fine Woodworking Design Books 6 and 7Full Color Catalogue from Mid-Career RetrospectiveNumerous magazine and Newspaper Articles

COLLECTIONS Museum of Art and Design, NYDetroit Institute of ArtKutztown UniversityLos Angeles County Museum of Art


PAT FLYNN 480 Mohonk RoadHigh Falls, New York 12440Phone 845.687.2266Fax 845.687.2061

EDUCATION1979 SUNY New Paltz, New Paltz, NY, BFA Goldsmithing1976 Edinboro State College, Edinboro, PA Jewelry & Metalsmithing

SELECTED EXHIBITIONS2006 Process & Promise: 75th Anniversary 92nd Street Y, New York, NY

Pat Flynn Patina Gallery, Santa Fe, NMInventing Contemporary Ornament National Invitational Bowling Green State University, Ohio

2001 Falling Gracefully Susan Cummins Gallery, Mill Valley, CAThe Poetry of Passion, DeNovo Gallery, Palo Alto, CAFlux Susan Cummins Gallery, Mill Valley, CAIrony Jewelers werk, Washington, DCFood Glorious Food Charles A. Wustum Museum of Art, Racine, WIWork Songs Susan Cummins Gallery, Mill Valley, CAContrast & Contradictions Susan Cummins Gallery, Mill Valley, CA

AWARDSNational Ornamental Metal Museum, Master MetalsmithNational Endowment for the Arts, Craftsman’s FellowshipNew York State Foundation for the Arts FellowshipNational Endowment for the Arts, Craftsman’s FellowshipNational Endowment for the Arts, Craftsman’s Fellowship

PUBLICATIONS2005 Penland Book of Jewelry “Gallery” 2004 American Craft Magazine “Review: Pat Flynn”1996 Metalsmith Magazine “Making Things Right”

TEACHINGHaystack Mountain School of Crafts, Deer Isle, MENova Scotia School of Art and Design, Halifax, Nova ScotiaOregon School of Arts and Crafts, Portland, ORParsons School of Design, New York, NYPenland School of Crafts, Penland, NC

PERMANENT COLLECTIONSRenwick Gallery, Smithsonian Institute, Washington, DC, Chicago ArtsInstitute, Chicago, ILNordenfjeldske Kunstindustri Museum, Trondheim, NorwayRhode Island School of Design, Providence, RICharles A. Wustum Museum of Fine Art Racine, WIMuseum of Arts & Design, New York, NYSamuel Dorsky Museum of Art, New Paltz, NY

DAVID GILHOOLY4385 Yaquina Bay RoadNewport, OR [email protected]

Born in 1943, Auburn CA

EDUCATION1965 BA University of California, Davis1966 MA University of California, Davis

SELECTED SOLO EXHIBITIONS2006 The Many Hearts of David Gilhooly, Micaela Gallery, San Francisco, CA2005 An Affair of the Heart: Works on Paper by David Gilhooly, Pence Gallery,

Davis, CABest in Show: Dog Works by David Gilhooly, Museum of Glass, Tacoma, WAFood, Frogs and Fido: Works on Paper by David Gilhooly, Cantor Art Center, Stanford University, Stanford, CA

2002 Eastern Washington State College, Cheney, WA2001 Nickle Arts Museum, University of Calgary, Calgary,

Alberta, Canada2000 Hallie Ford Museum, Willamette University, Salem, OR 1999 DeSaisset Museum, Santa Clara University, CA1994 University of Puget Sound, Tacoma, WA1992 San Jose Museum of Art, San Jose, CA1990 Renshaw Gallery, Linfield College, McMinnville, OR

SELECTED PUBLIC COLLECTIONSAustralia National Council, Canberra, AustraliaNational Gallery, Ottawa, CanadaOakland Museum of Art, Oakland, CAPalm Springs Desert Art Museum, Palm Springs, CA Philadelphia Museum of Art, Philadelphia, PASan Antonio Museum of Art, San Antonio, TXSan Francisco Museum of Modern Art, San Francisco, CA San Jose Museum of Art, San Jose, CAStanford University, Palo Alto, CAStedelijk Museum, Amsterdam, NetherlandsUniversity of Arizona Art Collections, Tempe, AZ Vancouver Art Gallery, Vancouver, British Columbia, Canada Whitney Museum of American Art, New York, NYFine Art Museum of San Francisco, San Francisco, CA University of California, Santa Barbara, CALittle Rock Art Center, Little Rock, AKJane Voorhees Zimmerli Art Museum, Rutgers University, NewBrunswick, New JerseyLouisiana State University, Baton Rouge, LouisianaNorton Museum of Art, West Palm Beach, FL

JAMES E. COTTER P.O. Box 385 Vail, CO 81645 970.827.4222 [email protected]

EDUCATION1969 Masters Degree of Arts, University of Wyoming, Laramie,Wyoming1967 Bachelors Degree of Fine Arts in Education, Wayne State College,Wayne, Nebraska

SELECTED EXHIBITIONS2006 Glass-Wear, Craft Alliance, St. Louis, Missouri2003 The Bracelet, Yaw Gallery, Birmingham, Michigan, SOFA NYC2003 The Art of Gold, Society of North American Goldsmiths,

national traveling exhibtion2002 Mikromegas, Munich Decorative Arts Association,

international traveling exhibition2002 A Modern Bestiary, Wustum Museum of Fine Art, Racine, WI2002 Going to the Dogs, Wustum Museum of Fine Art, Racine,

Wisconsin1999 Measure by Measure, Brookfeild Craft Center, Brookfield,

Connecticut1998 The Box Show, Denver Art Museum, Alliance for Contemporary

Art and Ron Judish FineArts, Denver, Colorado1983 The Great American Cowboy, a traveling exhibition by the

Library of Congress1980 8 Sculptors Create for the 80’s, Gallery of Contemporary

Metalsmithing, Rochester, New York1979 North American Sculpture Exhibition, Golden Colorado1978 First National Spoon and Ashtray Show, Sangre de Christo Arts

and Conference Center, Pueblo Colorado1978 Drinking Companions, John Michael Kohler Arts Center,

Sheboygan, Wisconsin1976 Cowboy Images, Rebecca Cooper Gallery, Washington D.C.1975 History of Photography as Subject Matter, Orange Coast College,

Carmel, California1969 Fourth Bi-Annual Exhibition of Intermountain Painting and Sculpture,

Salt Lake Art Center, Salt Lake City, Utah1964 Midwest Bi-Annual, Joslyn Art Museum, Omaha, Nebraska

GALLERIESSmith Klein, Boulder ColoradoJ Cotter Gallery, Vail and Beaver Creek, ColoradoJett Gallery, Santa Fe, New MexicoSpiralz Gallery, Birmingham, MichiganYaw Gallery, Birmingham, MichiganCarlyn Gallery, Grand Haven, MichiganLake Hill House, Whitefish Bay, WisconsinBorn: 1944, Corning, IA

COLLECTIONSBlount FoundationMcDonalds CorporationNational Broadcasting CorporationWustum Museum of Fine Art, Racine, WisconsinDorsky Museum, New Paltz, New York

PATRICK T. DOUGHERTY9007 Dodsons Crossroads Chapel Hill, NC 27516(919) [email protected]

Born in 1945, Oklahoma

EDUCATION1969: M.A., University of Iowa. 1967: B. A., University of North Carolina, Chapel Hill

SITE SPECIFIC EXHIBITIONS2006 Cornell University, Ithaca, NY 2006 Scottish Basketmakers Circle, Dingwall, Scotland 2005 Santa Barbara Botanic Garden, Santa Barbara, CA 2005 North Carolina Museum of Art, Raleigh, NC 2004 Grounds for Sculpture, Hamilton, NJ2004 Osnabruck Museum and Art Association, Osnabruck, Germany 2003 Villa Montalvo, Saratoga, CA 2003 The Contemporary Art Museum, Honolulu, HI 2002 Boise Art Museum, Bosise, ID 2002 Museum of Glass, Tacoma, WA 2001 Djerassi Foundation, Woodside, CA 2001 Smith College Museum, Northampton, MA 2000 National Museum of Natural History, Washington, DC 2000 Atelier 340 Museum, Brussels, Belgium1999 Skulpturenpark Rosental, Karnten, Austria 1999 Compton Verney, Warwick, England (1999)1998 San Jose Museum of Art, San Jose, CA (1998) 1997 Neuberger Museum of Art, Purchase, NY (1997)1997 Spoleto Festival USA, Charleston, SC (1997)1996 Copenhagen European Cultural Capital 96, Copenhagen,

Denmark 1996 The American Craft Museum, NYC 1995 Kemper Museum of Contemporary Art & Design, Kansas City,

MO 1995 Museo de Arte Carrillo Gil, Mexico City, Mexico 1994 Assen City Project, Assen, The Netherlands1994 Arte Sella, Trento, Italy (1994); Krakamarken, Randers, Denmark1993 Yorkshire Sculpture Park, West Yorkshire, England 1993 The Phillips Collection, Washington, DC 1993 Laumeier Sculpture Park, St. Louis, MO1992 Kakitogawa Museum, Misima, Japan 1991 Manchester City Art Gallery, Manchester, England1990 DeCordova Museum and Sculpture Park, Lincoln, MA


THOMAS KERRIGANP.O. Box 2456, Tucson, AZ, U.S.A. 85702(520) [email protected]

EDUCATIONM.F.A. Degree, Ohio University

SELECTED EXHIBITIONS2007 Artspace, Raleigh, North Carolina Two-person Invitational

Exhibition 2006 Red Deer College, Alberta, Canada Group Invitational

Odyssey Gallery, Asheville, North Carolina Group Invitational2005 National Juried Exhibition, NCECA, University of Maryland,

BaltimoreObsidian Gallery, Tucson, Arizona Solo ExhibitionTucson/Pima Arts Council, Tucson, Arizona Group Invitational

2004 NCECA Conference, Indianapolis, Indiana Solo ExhibitionObsidian Gallery, Tucson, Arizona Solo Exhibition

2003 Columbus College of Art and Design, Columbus, Ohio Group Invitational

2002 International Invitational Ceramics Exhibition Foshan, ChinaRed Deer College, Red Deer, Alberta, Canada Group InvitationalPenn State University, Crafts National, College Park, Pennsylvania

Recognition: Included in Who’s Who in American Art

OCCUPATIONArtist and Professor Emeritus, University of Minnesota

INTERNATIONAL INVITATIONS2007 & 2005 Guest Artist Workshop, Germany2002 Lecturer, International Ceramics Symposium, Foshan, China1995 Artist-in-Residence, Australian National University, Canberra,

Australia1994 Artist-in-Residence, Banff Center for the Arts, Banff, Canad

COLLECTIONSMuseum of Art and Design, New York City Los Angeles County Museum of Art Columbus Museum of Art, Columbus, Ohio Jack Lenor Larsen, New York CityJudith Schwartz, New York CitySara & David Lieberman, MinneapolisPushkin Museum of Art, Moscow Stephan Janssen, Scottsdale, Arizona

SYDNEY LYNCH Born in 1951, New Haven, Connecticut

EDUCATIONBFA, University of Colorado, 19731975-1981 Maintained studio in Boulder, Colorado1981-present Created and manages Sydney Lynch Jewelry, Inc. studioin Lincoln, Nebraska

SHOWS AND GALLERIES Shows include: American Crafts Council, Baltimore; Premier Jewelryat the Buyers Market of American Crafts, Philadelphia; SOFA/ NY andChicago, Philadelphia Museum of Art Craft Show, Smithsonian CraftShow, CraftBoston, Sun Valley Art Show, and numerous gallery shows.

Represented in over fifty galleries in the USA, including Aaron Faber,NYC; Chamade Jewelers, San Antonio, TX; Concepts, Carmel, CA; J.Cotter Gallery, Vail, CO; de novo, Palo Alto, CA; Hoadley Gallery, Lenox,MA; Jett Gallery, Santa Fe, NM, William Zimmer Gallery, Mendocino,CA.

PUBLICATIONSSydney Lynch’s jewelry has appeared in the following:Contemporary American Jewelry Design by Ettagale Blauer, 1991 VanNostrand ReinholdMetalsmith, Summer 1990; Fall, 1991; Winter, 1994; Winter, 1995:Spring, 1995American Craft Magazine, Oct./Nov., 1990; Feb./March, 1991; April/May,1993; Feb./March, 1995; Dec./Jan. 1998; Feb./March, 2000; June/July,2003L Magazine, September, 2003Ornament, Fall, 1995; Fall, 1996; Winter, 1996; Sydney Lynch: Ladder toSuccess Fall, 1997;Fall, 2000; The Medium of Memory, Summer, 2006Lapidary Journal, Controlled Chaos July, 1995; Facets, March, 1997Niche Magazine, 2005, 2006Art Jewelry Today by Dona Z. Meilach, 2003 Schiffer Publishing, Ltd.

ANNE HYNESBrooklyn, New [email protected]

EDUCATIONNational College of Art and Design, Dublin, Ireland (BA, 1994)Dual major/joint honors in the History of Art and Design and GlassDesign.

EXHIBITIONS2004 Pilchuck Teachers Exhibition, Washington, USA. 2003 Florida Craftsmen Gallery, Florida, USA. 1995 Guinness Gallery, Dublin, Ireland. 1994 NCAD Degree Show, Dublin, Ireland.

PROFESSIONAL EXPERIENCEGraphic Designer (1997 – Present)Aphid Design, New York, USA.Plus Delta Consulting, Los Angeles, USA.Jemmalulu, New York, USATBWA, Hong Kong.Euro RSCG, Sydney, Australia.Viper Productions, Sydney, Australia.Picture Company, Dublin, Ireland.

Glass Designer (2001 – Present)Workspace11, Brooklyn, USA.

Glass Production (1994 – 2000)Sallie Portnoy Studios, Sydney, Australia.Dale Chihuly’s Team, “Chihuly over Venice”, Waterford and Dublin,Ireland.Eltorp Glas, Orrefors, Sweden.Michel Bouchard Studio, Sancerre, France.

TEACHING EXPERIENCEUrbanGlass, Brooklyn, NY, USA (September 2002 – September 2005)Kilnforming, Kilncasting and Glass Blowing Instructor

Pilchuck Glass School, Stanwood, WA, USA (August 2004)Glass Casting Teaching Assistant

Corning Glass School, Corning, NY, USA (July 2004)Glass Casting Teaching Assistant

Jacksonville University, Jacksonville, FL, USA (June 2003)Glass blowing instructor

Sallie Portnoy Glass Studio, Sydney, Australia (April 1998 – September2000) Workshop Coordinator and Instructor

MATT KELLEHERC/O Penland School, PO Box 37, Penland, NC 28765 (828) 766-6542 [email protected]

EDUCATION1999 M.F.A. (Ceramics), University of Nebraska-Lincoln, Lincoln, NE1997 M.A. (Printmaking), University of Northern Iowa, Cedar Falls, IA1995 B.F.A. (Ceramics), Kansas City Art Institute, Kansas City, MO

EXHIBITIONS2006 Penland Gallery One Kiln, One Firing (solo) Penland, NC

Philadelphia Museum of Art Craft Show (Juried) Philadelphia, PAMarket House Craft Center 14th Annual Strictly Functional National(Juried) Lancaster, PASanta Fe Clay China Connection (Invitational) Santa Fe, NMArtstream Artstream Tour 2006 (Invitational) Portland, OR, Cheyenne, WY, Helena, MT

2005 Yixing Ceramic Museum International Teapot Competition (Juried)Yixing PR, ChinaNewman University MIMI - A Show of Handles (Solo) Wichita, KSAkar Gallery Three Emerging Artists (Three Person) Iowa City, IowaWestnorth Gallery Centered by Land and Sky (Two Person) NCECA Baltimore, MDCowlycounty Community College The Wood-fired Vase (Solo) Arkansas City, KS

2004 Community Arts Center Out of the Fire (Juried) Wallingford, PAKennedy Museum of Art Ohio University Faculty Biennial(Invitational) Athens, OH

2003 Lincoln Arts & Culture Foundation Feats of Clay (Juried) Lincoln, CAAdleta Gallery Atmosphere (Solo) Canaanville, OH

2002 Handworks Salzbrand 2002 (Juried) Koblenz, GermanyNicholls State University Utilitarian Ceramic National (Juried) Thibodaux, LA

PROFESSIONAL EXPERIENCEPenland School of Crafts - Penland, NC, Resident Artist (September 2005-Present)Hartford Art School - Hartford, CT, Sabbatical Replacement (Spring 2005)Wichita State University - Wichita, KS, Adjunct Professor (Fall 2004)University of Alaska - Fairbanks Visiting Summer Faculty (Summer 2004)Ohio University - Athens, OH, Visiting Assistant Professor (2003 - 2004)Shigaraki Cultural Ceramic Park - Shigaraki, JapanResident Artist (June-July 2003)Wichita State University - Wichita, KSVisiting Artist/Adjunct Professor (2001 - 2003)Archie Bray Foundation for the Ceramic Arts - Helena, MT Resident Artist (1999-2001)

PERMANENT COLLECTIONSYixing Ceramics Museum, Yixing, ChinaArchie Bray Foundation for the Ceramic Arts, Helena, MTNewman University - Steckline Gallery, Wichita, KSWichita Center for the Arts, Wichita, KSEmprise Bank, Wichita, KS

HAROLD O’CONNORP.O. Box 416Salida, Colorado [email protected]

Born in Utica, New York, U.S.A.

EDUCATIONUniversity of New Mexico, BUS Degree 1970Instituto Allende, Mexico, MFA Degree 1972National Arts and Crafts School, Copenhagen, Denmark 1965National Arts School, Helsinki, Finland 1966College of Art and Design, Pforzheim, Germany 1966-1967International Summer Academy of Fine Arts, Salzburg, Austria 1972

AUTHORThe Jeweler’s Bench ReferenceThe Flexible Shaft Machine

WORKSHOPSConducted over 200 workshops throughout the world includingPortugal, Estonia, Japan, Korea, New Zealand, Canadian Artic,Romania and Peru.

GALLERIESAaron Faber Gallery, New York CityRepresentation: Connell Gallery, Atlanta, GeorgiaMobilia Gallery, Cambridge, MassachusettsPatina Gallery, Santa Fe, New MexicoMesa Edge Gallery, Taos, New Mexico

COLLECTIONSA practicing goldsmith/teacher for 40 years. His works can be seen inpublic collections including:The National Ornamental Metal Museum, Memphis, TennesseeThe Goldsmith’s Hall, London, EnglandVictoria and Albert Museum, London, EnglandCesky Raj Museum, Turnov, Czech RepublicThe State Art Gallery, Legnecia, PolandThe German Goldsmith’s Society, Hanau, GermanyThe Metropolitan Museum of Art, New York CityThe Smithsonian Institute, Washington, D.C.

SEAN O’MEALLIE917 East Yampa StreetColorado Springs, Co [email protected]

SOLO EXHIBITIONS2008 LeMieux Gallery / New Orleans, LA2007 Estel Gallery / Nashville, TN2005 Savageau Gallery / Denver, CO2004 Sylvia Schmidt Gallery / New Orleans, LA2002 Sangre de Cristo Arts and Conference Center / Pueblo, CO

TWO PERSON AND GROUP EXHIBITIONSGalleries -2008 LeMieux Gallery, New Orleans, Louisiana2007 Estel Gallery, Nashville, Tennessee2006 Mobilia Gallery, Cambridge, Massachusetts2005 Savageau Gallery, Denver, Colorado2004 Sylvia Schmidt Gallery, New Orleans, Louisiana2003 Bryan & Scott Jewelers, Colorado Springs, Colorado2002 Cultureclash Gallery, Salida, Colorado2001 Chaffee County Arts Center, Buena Vista, Colorado2000 Sofia Georg Gallery, Denver, Colorado

Museums -2007 The National Craft Gallery of Ireland , Kilkenny, Ireland2006 Pikes Peak Community College, Colorado Springs, Colorado 2003 The Rockford Art Museum, Rockford, Illinois2002 The Sangre de Cristo Arts Center, Pueblo, Colorado 2001 The University of Colorado, Colorado Springs, Colorado2000 The Arkansas Art Center, Little Rock Arkansas1997 The Colorado Springs Fine Arts Center, Colorado Springs,

Colorado1995 The University of Colorado, Boulder, Colorado

BOOKSLaunching the Imagination, McGraw-Hill Higher Education, ISBN 0-07-287061-3Teapots: Makers & Collectors, Schiffer Books, ISBN 0-7643-2214-1

COLLECTIONSSparta Teapot Museum, Sparta, North CarolinaThe Museum of Decorative Arts, Little Rock, ArkansasThe Colorado Springs Fine Arts Center, Colorado Springs, ColoradoThe Sangre de Cristo Arts Center, Pueblo, ColoradoThe City of Denver, ColoradoThe State of Colorado


NANCY MOORE BESS186 Harkness RoadAmherst, MA [email protected]

INTERNATIONAL EXHIBITIONS2007 National Craft Gallery, Kilkenny, Ireland, Wild Geese:

The Irish in America2006 National Crafts Council of Ireland, Kilkenny, Ireland,

Fiber: A New World View1998 Gallery of Art, Szombathelyi, Hungary,

Biennial of Minitextiles Int’l1998 Barbican Centre, London, Threads: Contemporary American

Basketry1998 Textiles: 4th International Competition, Nagoya, Japan

MUSEUM, ORGANIZATION & UNIVERSITY EXHIBITIONS2005/06 Arizona State University Art Museum, Tempe, Intertwined:

Contemporary Baskets from The Sara and David Lieberman Collection2005 Long Beach Museum of Art, Engaging Nature:

Contemporary Baskets from the Collection of Lloyd and Margit Cotsen2005 Racine Art Museum, Racine, Magnificent Extravagance:

Arts and Opulence2005 Contemporary Jewish Museum, San Francisco, Scents of Purpose,2004 New Hampshire Institute of Art, Manchester,

Traditional Craft/Contemporary Art2004 Craft & Folk Art Museum, Los Angeles, Celebrating Nature2003/07 The Society for Arts and Crafts, Boston,

No Boundaries: Contemporary Basketry, Traveling 2003 The Society for Arts and Crafts, Boston,

Words-Text-Stories, Fontbonne 2003 University Gallery of Art, St. Louis, Raking Stones,2003 Hunterdon Museum of Art, Clinton, NJ, The Art of Containment

INVITATIONAL EXHIBITIONS, U. S. GALLERIESAndora Gallery, Carefree, AZbrowngrotta arts, Wilton, CTCervini Haas Gallery, Scottsdale, AZdel Mano Gallery, Los Angeles, CAJane Sauer/Thirteen Moons Gallery, Santa Fe, NMR. Duane Reed Gallery, St. Louis, MOSnyderman - Works Galleries, Philadelphia, PA

COLLECTIONS American Crafts MuseumArkansas Arts CenterCharles A. Wustum Museum of Fine ArtsErie Art Museum

CAROLINE MADDEN 8618 Emerald Isle Circle South Jacksonville, FL 32216 Mobile: 0868495346. Telephone: 0719624243. Email:[email protected]

EDUCATIONMassachusetts College of Art, Boston. Master of Fine Arts in Fine Arts3D. Stourbridge College of Technology and Art, England. Bachelor ofArts (Hons.) in 3D Design.

EXHIBITIONS2007 Wild Geese, invitational exhibition., Crafts Council of Ireland 2005-08 Forty Shades of Green, invitational exhibition, Crafts Council

of Ireland2002-05 Irish Contemporary Glass, juried exhibition, Ireland, 19/08.2002-04 Florida Craftsmen’s 50th Anniversary Exhibition,

uried exhibition, FL2002 Visions of the North Florida Environment, invitational, Florida

State University’

PROFESSIONAL EXPERIENCE2006-2007 Lecture. National College of Art & Design, Dublin, Ireland.1992-2006 Professor of Art, Head of Glass and SculptureConcentrations. Jacksonville University, FL. 2004-2005 Visiting Lecturer. National College of Art & Design, Dublin,Ireland.2001-2002 Visiting Assistant Professor of Art. Glass Program of theSchool for American Crafts Rochester Institute of Technology, NewYork.1996-2004 Director, and co-founder. The Glass Institute of theSoutheast, Jacksonville University (JU). 2001, 2003 Director. Governors Summer School Program for Gifted andHigh Achieving Students, JU.

WORKSHOPS, DEMONSTRATIONS AND LECTURES2006 Panelist. Glass Education: A Gateway to Success or Failure. GlassArt Society.2005 Instructor. Fire Station, Dublin, IrelandInstructor. Pittsburgh Glass Center, PittsburghInstructor. Urban Glass, Brooklyn, New York2004 Instructor. Volusia County PublicSchoolArt Teachers, Daytona Beach Instructor. Pittsburgh Glass Center, PittsburghInstructor. Pilchuck Glass School, Seattle, WA. Instructor. Fire Station, Dublin, Irelan Lecture. Personal Work, the Ulster Museum, BelfastLecture. Glass Art in America, the National Museum of Ireland 2003 Demonstration. Florida State University, Museum of Fine Arts, FL.Demonstration. The Mary Brogan Museum of Arts & Sciences. 14-16/03.2002 Lecture. Personal Journey as Artist, Alfred University, Suny, NYLecture. Site Specific Sculpture, Museum of Fine Arts, Florida StateUniversity FL

COLLECTIONSThe Ulster Museum Belfast Northern Ireland, cast glass work, ShatteredCycleThe National Museum of Ireland, cast glass work, Untitled.Times-Union Center for the Performing Arts, Jacksonville. Lyrical Light.Lough Boora Parklands, installed site-specific sculpture, Cycles.


PAUL JOSEPH STANKARD8 Old Landing RoadMantua, NJ 08051T: 856-468-6348F: [email protected] www.paulstankard.com

Born iinn 1943 Attleboro, Massachusetts

EDUCATION1963 Salem Community College Pennsgrove, New Jersey1997 Rowan University Honorary Doctor of Fine Arts Glassboro, NewJersey

SELECTED SOLO EXHIBITIONSPaul Stankard: A Floating World – Forty Years of an American Master in Glass, Museum of Arts and Design, New York, NYDeath, Sex, and God: Paul Stankard, Canadian Clay and Glass Gallery, Ontario, CanadaPoetic Vision of Nature: The Solo Exhibition of Paul Stankard, Tittot Glass Art Taipei, Taiwan, 2003Paul Stankard: Homage to Nature – A Thirty Year Retrospective, Fuller Museum of Art, Brockton, MA, 2002

PROFESSIONAL ASSOCIATIONS1999- Present: Faculty, Glass Art, Salem County CommunityCollegeSalem, NJ1985- Present: Faculty Penland School of Craft Penland, NC

SELECTED PUBLIC COLLECTIONSArt Institute of Chicago, Chicago, ILBoston Fine Arts Museum, Boston, MABirmingham Art Museum, Birmingham, ALCleveland Museum of Art, Cleveland, OHMetropolitan Museum of Art, New York, NYMusee des Arts Decoratif, Palais du Louvre, Paris, FranceMuseum of Arts and Design, New York, NYMuseum of American Glass, Wheaton Village, Millville, NJMuseum of Glass: International Center for Contemporary Art, Tacoma,WA New Orleans Museum of Art, New Orleans, LAPhiladelphia Museum of Art, Philadelphia, PARenwick Gallery of the National Museum of American Art,Washington DCTittot Glass Art Museum, Taipei, TaiwanVictoria & Albert Museum, London, England

JOHN BOYD SMITH315 East 51st Street Savannah, Georgia 31405Phone 912-234-2651 Cell 912-655-9448 Fax 912-234-9490www.johnboydsmith.com

NATIONAL TELEVISIONThis Old House Public Broadcasting System 1995Modern Masters Series, HGTV 1998Gothic Lamp Segment, CNN 1986 Good Morning America, ABC 1997

INTERNATIONAL METALWORK BOOKSArchitectural Ironwork, Schiffer Publishing 2001Fireplace Accessories, Schiffer Publishing 2003Ironwork Today, Schiffer Publishing 2006Ironwork of Savannnah, T.D. Conner 2004

MAJOR MAGAZINESSouthern Accents Magazine Numerous timesThis Old House Magazine 1997Interior Design Magazine 1998Southern Living Magazine Numerous timesCarolina Architecture and Design Numerous timesSpirit of the Carolinas Magazine 2000

MAJOR AWARDSLifetime Recognition Award, American Institution of ArchitectsState of Georgia 1999Historic Savannah Foundation Award, 1988Wild Geese, Exhibition, National Craft Gallery of Ireland 2007

ARCHITECTURALMajor Metalwork Commissions ——-Luxury Hotels and Luxury privateresidence throughout U.S.A. and Caribbean for the past 25 years.

ANDREW SHEA2600 31 Avenue SouthMinneapolis, MN 55406612 332 [email protected]

Born the 11th December, 1947

EDUCATION1978-Present Self Employed Glass Artist1982 Glass Workshop with Dick Marquis 1980 Glass Workshop with Bertil Vallien1978 University of Minnesota MFA Studio Arts, Glass1976 University fo Minnesota BA Studio Arts, Glass1974 University of Minnesota BES

SELECTED EXHIBITIONS2007 Wild Geese, National Crafts Gallery, Irish Craft Council.

Kilkenny, Ireland, 2006 - 1997 Invitational Glass Exhibit, Art Resources Gallery,

Edina, Minnesota1999 Invitational Glass Exhibit, Kane Marie Fine Art, Virginia

Beach, Virginia 1999/97/95 Smithsonian Craft Show, National Building Museum,

Washington DC 1996-1993 New Art Forms (SOFA) MC Gallery, Navy Pier, Chicago, Illinois 1996 International Frankfurter Messe, ASIA, Georgeo’s Collection,

Frankfurt, Germany 1996 International Makhari Messe, Georgeo’s Collection, Tokyo,

Japan 1995 Tokyo Art Expo, Perspectives Gallery, Tokyo, Japan 1994 Ohio Collects Studio Art Glass, The Ohio Craft Museum,

Columbus, Ohio 1993 The American Hand:Fifty Years of Crafts, Minnesota Museum

of Art, St. Paul, Minnesota 1985 Utility Plus, Minneapolis Institute of Arts, Minneapolis,

Minnesota 1983 New Glass/Minnesota, University of Minnesota Art Museum,

Minneapolis, Minnesota 1982 GLASS, Kresge Gallery, Minneapolis Institute of Arts 1981 Great Lakes Glass, Elvehjem Museum, University of

Wisconsin, Madison, Wisconsin 1976 Glass Art Society Show, Corning Museum, Corning, New York

AWARDSMain Street Arts Festival, Fort Worth, Texas Juror's Award 2006Winter Park Art Festival, Orlando, Florida Award of Distinction 2005Best of Show, Glass 2000 Glass 2nd Place 1990Edina Art Fair, Minneapolis,Minnesota Award of Merit 2006 Award OfExcellence 2003Port Clinton Art Festival, Highland Park, Illinois Scott Davis Glass Award2006, First Place, Crafts-Three Dimensional, 1999Uptown Art Fair, Minneapolis, Minnesota Best of Show, Glass 1985-1996Miami Beach Festival of Arts, Miami Beach, Florida Glass Award1995,1994, Glass-2nd Place 1996

COLLECTIONSFredrick R. Weisman Museum, University of MinnesotaRockford Art Museum, Spies Collection, Rockford, Illinois

Muskegon Museum of Art, Muskegon, Michigan

TEDD R McDONAH1509 South Farmer Ave, Tempe, AZ 85281480.736.1168 [email protected]

EDUCATION1998 – 2001 Arizona State UniversityMaster of Fine Arts;; Jewelry and MetalsmithingMay 2001, Deans List, GPA 4.00, Tempe, AZ1991 – 1996 University of Wisconsin-LacrosseBachelor of Science in Art: Emphasis in Metalsmithing. May 1996,LaCrosse, WI

SELECTED EXHIBITONS2006 Legacy of an Artist and Educator: David Pimentel

Invitational, Mesa Contemporary Arts at Mesa Art Center, Mesa, AZ

2005 Jewelry + Objects 2005, Michigan Silversmiths Guild 2005 Ann Arbor Art Center, Ann Arbor, MIBest of 2005, Ohio Designer/Craftsmen 2005 Juried Traveling ExhibitionWall to Wall: Indoor Sculpture, InvitationalFlatlanders Art Galleries, Blissfield, MI

2004 Glass, Clay, Wood, Stone, Metal and Fiber: The Art of Contemporary Crafts Invitational, University of St. Francis, Fort Wayne, IN26th Annual Contemporary Crafts, Mesa Contemporary Arts

2003 From Wisconsin & Beyond, Two-person ShowBemidji Community Art Center, Bemidji, MN

2002 Beads 2002. International/Invitational, Wooster, OH and Tokyo, JapanMetals From Around the Midwest, Invitational, Western Illinois University Art Gallery Western Illinois University, McComb, ILInnovative Tools for Personal Use, 3M/SNAG, International juried exhibition. RECREATION ReCREATION, Invitational, Noyes Museum of Art, Oceanville, NJ. Curator: Bobby Hansson.

SELECTED TEACHING EXPERIENCES1998, 2006 Phoenix Center for the Arts, Phoenix, AZAdult Education classes, casting-cuttlebone, lost-wax, organics2004 – 2006 University of Toledo, Toledo, OHVisiting Assistant Professor/Visiting Head of Metalsmithing andJewelry2004 Wayne State University, Detroit, MIAdjunct Faculty, Blacksmithing/Metalsmithing, School of Art2002 – 2006 Toledo Museum of Art, School of Art and Design, Toledo,OHAdult and youth Blacksmithing / Metalsmithing classes; 12 week sessions

SELECTED PROFESSIONAL EXPERIENCE & LECTURES2006 Public Lecture: Current works / Mokume-gane.Pima Community College, Tuscan, AZ2005 Public Lecture: Contemporary Blacksmithing.Opening reception and lecture “Hard and Heavy, Iron and Steel”Bemidji Community Arts Council, Bemidji, MNChief Demonstrator: Northwest Ohio Blacksmiths.Mokume-gane, “Visual Elements in Steel”, and finishes on steel 2004Public Lecture: University of Minnesota-Morris.A(p)parent Appreciation-Opening reception and lectureGuest Artist and Lecturer: Bowling Green State University. BowlingGreen, OH. Mokume-gane: The Wood-Grain Metal.

REBECCA RUBALCAVA WILLIAMS

EDUCATION1989 University of California, Los Angeles, MFA, Fiber Arts, 1985 NCAD, Dublin, Ireland, graduated ,Woven Textiles.

SELECTED EXHIBITIONS1999 Community College of Southern Nevada, Las Vegas, Nevada.1993 Annex Gallery, Biola University, La Mirada, California.2005 FIDM. Museum, The Fashion Institute of Design &

Merchandising, Los Angeles, California.2002 A Passion to Sustain, Chattahoochee Valley Art Museum,

LaGrange, Georgia1997 FIBERART INTERNATIONAL =97, Pittsburgh Center for the Arts,

Pittsburgh, Pennsylvania.1994 Matrix International 94, Sacramento, California.1989 Wight Art Gallery, University of California, Los Angeles,

California.

TEACHING EXPERIENCE2005, Instructor, Textile Design Class. Fashion Institute of Design &Merchandising, Los Angeles, California 2005 Instructor, Art History (Art through the Ages) Los Angeles Trade -Technical College, Los Angeles, California,2004 Instructor of Tapestry Weaving at Santa Monica College,California1986 —90 Instructor of Woven Textiles at FIDM. Los Angeles, California 1988 —89 Teaching Associate, Beginning Color Theory & 3-D DesignUCLA, California

DESIGN EXPERIENCE2005 Senior Designer, Taiping Carpets, Pasadena, California2002 -2005 Design Consultant, Fine Design, Pasadena, California LeesCarpets, Virginia, Masland Carpets, Alabama1999 - 2002 Director of Design, Bentley/Prince Street Technologies,California1994 - 1999 Senior Pattern Designer, Monterey Carpet Mills, Santa Ana,California.1993 - 1994 Designer, Tuftex Carpet Mills Industries, California.1989 - 1993 Pattern Designer, Atlas Carpet Mills, Commerce, California.

AWARDS2002 Judges= Best in Show Award, a Passion to Sustain, LaGrange,Georgia2001 Brabourne, Hyperion, Moorfield, Bentley Mills, The Doc Award1999 The Museum Collection, Monterey Carpets, Gold Award, best ofBroadloom, Neocon, Chicago, Illinois1998 The Spoolcraft Collection, Monterey Carpets, Silver Award, best of Broadloom, Neocon, Chicago, Illinois1992 The Interweave Design Library, Atlas Carpet Mills, Gold Award,Institute of Business Design and Contract Magazine Product Design,New York. 1992 Archives, Atlas Carpet Mills, Silver Award, Institute of BusinessDesign and Contract Magazine Product Design, New York.1988 - 89 Research Grant, University of California, Los Angeles,California.1988 - 89 Anderson Award, University of California, Los Angeles,California.1988 - 89 Philip Rosenberg Scholarship, UCLA, Los Angeles, California1987 - 88 Ann Bing Arnold Award, UCLA, Los Angeles, California

PAULA STOKES1125 8th Ave West, Seattle, WA 98119206 285 [email protected]

EDUCATION2003-2005 Post baccalaureate studies in Printmaking, University ofWashington 1992 Certificate in Glassmaking and Technology, International GlassCentre, Brierley Hill, England1991 Bachelors Degree (Honours) in Design (Glass), National College ofArt and Design, Dublin, Ireland

SELECTED EXHIBITIONS2007 4x Abstraction, Artpatch Gallery, Seattle

Wild Geese, Irish Crafts Council, Kilkenny, Ireland2006 SPA Group Show, Center of Contemporary Art, Seattle, WA

Points of Reference, Pratt Fine Arts Center, Seattle, WA(solo show)North by Northwest, Kala Institute, Berkeley, CAWorks on Paper, Jacob Lawrence Gallery, Seattle, WABFA Show, Jacob Lawrence Gallery, Seattle, WAPratt Instructors’ Show, Rainier Club, Seattle, WAGroup Show, Recovery Café, Seattle, WASPA Group Show, Shenzhen Art Institute, ChinaSix in the City, Seattle Art Museum, Seattle, WAWorks on Paper, Jacob Lawrence Gallery, Seattle, WA25th Paper in Particular National Exhibition, Columbia College,MOContemporary Irish Glass Art, National Museum of IrelandWorks on Paper, Jacob Lawrence Gallery, Seattle, WAContemporary Irish Glass Art, Waterford, Ireland Artists in my Area, Bubba Mavis Gallery, Seattle, WA

AWARDS/GRANTS2004 University of Washington: Milnora Roberts Award for AcademicExcellence1991 Finnish Ministry of Education: Travel grant for design, languageand culture

PROFESSIONAL EXPERIENCETeachingPilchuck Glass School, (2005)Pratt Fine Arts Center, Seattle (1995-2005)Museum of Glass, Tacoma (2002) University of Washington, Tacoma (2002)Seattle Glassblowing Studio, Seattle (2002-2005)Urban Glass, Brooklyn, NY (1998)Beginning and intermediate glass blowingNational College of Art and Design, Dublin, Ireland (1997-2000)

PUBLICATIONSWinter 2004-2005 Neues GlasMarch 2004 Sunday Tribune, March 7, 2004, p.15, illus.September 2003 The Irish Arts Review, p.52, illus.September 2003 Inspirational Awakening, Irish Contemporary Glass2003, pp. 5 &30August 2003 The Irish Times, August 23, 2003

CRAFTS COUNCIL OF IRELAND

The Crafts Council of Ireland (CCoI) is the national economic development organisation for the craft industry in Ireland and is funded by Enterprise Ireland.

The Council acts on the industry’s behalf• by advising government and state agencies on issues affecting the industry• by assisting the industry in promotion and marketing• by assisting vocational craft and design training

NATIONAL CRAFT GALLERY

The Crafts Council of Ireland, set up the National Craft Gallery (NCG) in December 2000. NCG runs a dynamic, national and international exhibitions programme which aims to:

• Stimulate quality, design, innovation and competitiveness in the craft sector• Communicate the unique cultural and commercial attributes of craft• Promote the importance of quality to consumer and craft manufacturer alike• Stimulate innovation in design and manufacture via special exhibition themes• Encourage mutual transfer of exhibitions with other international craft agencies

Further information on Crafts Council of Ireland projects and programmes is available from:

Crafts Council of IrelandCastle Yard, Kilkenny. t: 353 (0)56 7761804f: 353 (0)56 7763754e: [email protected]: www.ccoi.ie

Exhibitions Programme Manager: Vincent O Shea

Gallery Assistant: Brian Byrne

Press: Helen Carroll

WILD GEESE EXHIBITION

Curator: Kevin O’DwyerCatalogue: Kevin O’[email protected]

Editing: Eleanor Flegg

Design: Oonagh Young & Robin Watkins, Design [email protected]


BOYD SMITH, BRISCOE,BROLLY, COTTER, DOUGHERTY, FLYNN, GILHOOLY, HYNES, KELLEHER, KERRIGAN, LYNCH, MADDEN, MOORE BESS, O’CONNOR,O’MEALLIE, McDONAHRUBALCAVA WILLIAMS, SHEA, STANKARD, STOKES.

WILD

GEESE: TH

E IRISH

IN A

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wild geese the irish in america

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