Bullseye Glass artist residencies 2015-2020

BULLSEYE GLASS artist residencies

BULLSEYE GLASS artist residencies

2015-2020

Selected stories from Bullseye’s resident artist program

Bullseye Glass Resource Center Bay Area

This body of work is from a continuing series based on recontextualizing information. There is beauty in charts, graphs, and other visual detritus that accumulates. I work with ways to reorganize and reinterpret imagery. I research information systems and pull from these sources to find images I can divorce from the original context and reassemble based on shape, form, complexity or other determinations.

Carrie Ann Plank

BULLSEYE RESOURCE CENTER BAY AREA

Jenn Shifflet

BULLSEYE RESOURCE CENTER BAY AREA 2015

I am interested in working in glass because of its inherent qualities of light and the possibilities of spacial depth created by working in layers. My paintings have long focused on the formal and sensory qualities of light, color and space. However, there is only so far that I can push the limitations of the medium of paint. This has brought me to start learning about working in glass and I am discovering the endless possibilities that glass offers as a fine art medium.

Susan Abbott Martin

My work has traditionally been made from carved and formed solid materials, such as wood and metal, and I have experience with moldmaking and casting. I am fascinated with the fluidity and transparency that glass embodies, and I have a strong desire to incorporate these material properties into my work relating to water processes.

Max Luo

BULLSEYE RESOURCE CENTER BAY AREA

2017

With a vocabulary of software code, live camera feeds, projections, scrims and more recently, custom glass, I make work where the material richness of the world is sustained in an active dialog with digitally rendered or dynamic visual systems.

BULLSEYE RESOURCE CENTER BAY AREA 2018

BULLSEYE RESOURCE CENTER BAY AREA 2018

BULLSEYE RESOURCE CENTER BAY AREA

Bullseye Glass Resource Center Los Angeles

BULLSEYE RESOURCE CENTER LOS ANGELES

Jen Stark

Bullseye Glass Resource Center

Friends for over thirty years, New York-based artists Jane Bruce, Susan Cox, and Sandy Gellis meet regularly to share their work and discuss ideas. These intimate gatherings generate a critical discourse that has become crucial for each of their varied practices and became the foundation for a four-month residency. The artists maintain distinct approaches to their practices and concerns, but during the residency their themes began to overlap, resulting in an work that considers our relationship to the land and the emotional attachments we have with the places we have inhabited.

2014-2015

Jane Bruce, Susan Cox, Sandy Gellis

Never working in glass before, I explored the materials and techniques. I learned how to fuse the glass in a kiln and developed several pieces. My interest in glass was an extension of my work with encaustic painting and collage with vellum photographs. All have a connection to mystery, translucency, the past and present.

I am interested in casting paper models of origami corrugations. The corrugations I have been using are based on the astro-physicist Muira Ori’s folding techniques. These corrugations use a repeating set of creases to create a variety of faceted shapes, which can be combined infinitely to create tessellated patterns.

Nisha Bansil BULLSEYE RESOURCE CENTER NEW YORK 2016

I am not a glass artist, rather a sculptor who works in glass conceptually when the material and each specific process allows me to fully articulate my ideas. In the early 1990s, I wanted real light in my work. I was frustrated with the impenetrability of cast metal, but my history as a bronze caster and subsequent knowledge of mold making allowed me to make a smooth transition to glass casting.

Marsha

Bryan Humphrey, Matthew Day-Perez, Martyna Szczęsna

In the past, I have created art works that involve water in various ways and contexts. Melting iceberg, flooded city, deteriorated leaves under rain or snow and bubbles in polluted ocean are some of the scenes with water that inspired me. I have used a variety of materials such as ceramics, paper and wax to match and express the emotional content in each scene and context. I am especially drawn, however, to glass as a medium because of the way it resembles water.

Tomoko Abe

I hope to gain an understanding of the properties of a medium I have long been curious about and see how the automatic gestures of my drawings and paintings can translate to planned out compositions in glass. I have never worked with glass before but have been making sculptures with ceramic clay, aluminum casting and air dry materials. My work is very materials oriented, with gestures, strokes and colors being dictated by the chemical and physical properties of the media I am working in. My concepts and movements are also informed automatically in response to the studio I am working in, making each work material and site-specific.

Joanne Greenbaum

BULLSEYE RESOURCE CENTER NEW YORK 2018

Dorie Guthrie

I am attracted to the material contradictions of glass: rigid but malleable, delicate yet dangerous, transparent but also distorting, fracturing, and, therefore, opaque. Therefore, I utilize glass to conceptually embody the everyday risk of antiblack violence engendered by these qualities. Central to my current artistic methodology is the reuse, deconstruction, and reconfiguration of materials. This process correlates to the fragility and fungibility of blackness. I engage in metonymic acts of reuse and rearticulation by employing the same materials from prior installations to formulate the next. These re-occurrences that develop into new forms represent the ways in which repetition itself is both a symbol of black cultural production and its reliance on an order of temporal engagement in which the second time encodes an emergent originality.

Charisse Pearlina Weston

Bullseye Glass Resource Center Santa Fe

My work is sculptural, interactive, and performance based. I use video, photography, a wide range of drawing methods and installation techniques to examine the contrasts between the ritualistic and mundane, the performative and the genuine, and ask questions about how we, in our bodies, practices, and institutions, locate ourselves in these spaces.

Ligia Bouton

BULLSEYE RESOURCE CENTER SANTA FE 2015-2016

Joanne Lefrak

BULLSEYE RESOURCE CENTER SANTA FE 2016

My new training in glass casting has opened up new ways of working that I am thrilled about. Now that I started working with glass, I am addicted to the beauty and magic of this material. I feel like I am just scratching the surface of how I can successfully work with this new material.

Debra Baxter

BULLSEYE RESOURCE CENTER SANTA FE 2016

Within all of my works are visual seeds, that when planted within an observer’s eye, take root in the mind. Living, formal language becomes tangible through the anamorphic forms I endlessly generate. Colorful, bulbous organisms expand and pulse with life, their bodies seeming to mutate and spread. Each piece exhibits unique organic or biological characteristics, and can be compared to botanical material, fungi, marine life, or microbes. Encapsulated within each form are marks, textures, patterns, and occasionally protrusions: elements that comprise or reflect an operative inner philosophical language. I see my job more as that of a keeper, even a breeder, of these living polysemic entities, and I am delighted by unusual interpretations of their cultural implications.

BULLSEYE RESOURCE CENTER SANTA FE 2017

Lea Anderson

I have a love affair with my hands and a certain obsessive need to produce. My work tends to gravitate toward labor intensive, often repetitive methods of working when bringing an idea to life. I enjoy combining modern inventions with traditional making methods and strive to weave them into a collective whole.

Stephanie Lerma

BULLSEYE RESOURCE CENTER SANTA FE 2018

I am interested in the technical challenges, as well as the language of the glass as it transcends from mass to void. My interest lies in the juxtaposition of material, the play of light, and the shift in density. My vision is to create a composition that seamlessly melds cast glass and its unique properties with my signature kilnformed work.

Karen Bexfield

BULLSEYE RESOURCE CENTER SANTA FE 2018

During my years as an artist, I have worked in pure materials: porcelain, graphite, aluminum, steel and sometimes glass. I want to work more extensively in glass because like graphite it is a primal material. While graphite absorbs and reflects light, the translucency and reflective qualities of glass will provide a related but very different experience and beauty.

Susan York

BULLSEYE RESOURCE CENTER SANTA FE 2018

Through my art practice I explore what it is to be a human in this world, both individually and collectively. I am interested in how the human psyche perceives and constructs reality, subjective experiences, history, illusion and disillusion. I render narrative figurative images, often in a fragmented way, to evoke emotional, psychological, or spiritual states and suggest human vulnerability when facing the discrepancy between desires and reality.

Laurel Garcia Colvin BULLSEYE RESOURCE CENTER SANTA FE 2019

Bullseye Factory Studios

I was introduced to Bullseye in 1998, during my studies in Canberra, Australia, and – like many other glassmakers – fell in love with the colour palette and endless possibilities of making work that takes studio glass to a new level in terms of pattern, surface texture, composition and colour. Traditionally in Finland glass art has had quite a subtle quality to it, colour schemes varying from clear to grey to different shades of blue, with some splashes of bold colour... In my work I have always been reaching out to maximum density of colour.

For me, when I enter a situation that is completely foreign and at the same time completely seductive in terms of material and access (with a finite deadline), I go nuts. I fully commit. I was in Bullseye literally every day of the residency, there was no question in my mind that it would take precedence over everything else. Basic day to day activities like eating, exercising, cleaning my house, changing out of clothes that were becoming more plaster and wax than textile, took the back seat. I was so enamored with the process, the material, the people and the facilities that I wanted to learn and experience as much as I could.

Heidi Schwegler BULLSEYE FACTORY STUDIOS

Karlyn Sutherland BULLSEYE FACTORY STUDIOS

Being in a supportive environment where I could immerse myself making and in the dialogue between my work in glass and in architecture provided a muchneeded lesson in confidence... It was a wonderfully stressfree,creatively-rich and productive month, and I can already sense a shift in my practice; I’ve returned home with a new level of understanding and confidence regarding the dialogue between my work in glass and architecture, and a greater sense of the possibilities between the two.

I have an extensive background and knowledge of plastics. I am interested in expanding this process in to other materials. I have little knowledge of the glass process. However, I am excited for the opportunity to work with those knowledgable in the industry, i.e. designers, techs, etc... My goal is to take my knowledge of a refined process that i have developed through two years of research and development and expand it into the design and architectural world.

Phillip Denker

BULLSEYE FACTORY STUDIOS

2016

Michelle Grabner

With confidence I can now say that I understand and champion the art of fusing glass. As an abstract painter my value system is different that those of traditional glass artists. Thus what is elemental and basic in fusing techniques and abstract composition was compelling to me and furthered my understanding of transparency, pattern, and form. Although I did not challenge the technical skills of Bullseye’s team, I can tell you that my work in fusing simple gingham patterns is indeed challenging painting discourse. I am extremely grateful for the opportunity to pull an abstract painting language into the medium of glass.

The interplay between threedimensional objects and the drawn line is an ongoing line of inquiry in my work. As anthropologist Tim Ingold argues, “For there to be lines, do there have to be surfaces, or can line exist without any surfaces at all?”

Mel

Sibylle Peretti

BULLSEYE FACTORY STUDIOS

2016

Well, the possibilities of glass have exploded into the infinite basically, you know? It’s always been the case with my work, work begets work. So the more work I do the more ideas I have, the more work I have to do. I remember this feeling when I first discovered ceramics. And then as you learn more you come up against both the possibilities and the restrictions of the craft and that sets you off on a whole other tangent of desires for experiments and all of that. Being able to handle, cut, and manipulate the glass in this really intuitive, physical way, which is really how I usually work, has been incredibly freeing.

Jessica Jackson Hutchins

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. Every day 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.

Jeffrey Stenbom

BULLSEYE FACTORY STUDIOS

2017

If you put a ceramic sculpture [in the kiln] it comes out relatively like you put it in, whereas I think I’m discovering the way glass radically changes through the heat work. Like the form of the thing, not just the surface, can change to the heat work, as something that I’m drawn to that I didn’t really understand coming in. And that’s great, it’s a nice like opportunity to let go a little something to the process.

Ben Buswell

As with the start of any investigation, I would say this experience produced more germs of ideas than resolved ones, and perhaps even more ‘failures’ than ‘successes.’ This is both appropriate and very exciting, and I am grateful to Bullseye for providing such a safe and supportive environment and infrastructure for me to be able to continue to explore with such a robust support structure.

Jeff Zimmer

BULLSEYE

2017

FACTORY STUDIOS

Rei Chikaoka

BULLSEYE FACTORY STUDIOS

2018

My residency at Bullseye allowed me the time and freedom to engage in a deep-dive investigation of my kilnforming process. Set in a factory environment and classroom space, I was in a position to learn just from watching the various teams work with glass at a high level. I found the staff to be friendly and extremely knowledgeable about glass, from research and education to the factory to the sales team. Each of them taught me something I didn’t know about a glass I’ve been using for over 15 years.

BULLSEYE FACTORY STUDIOS 2018

Colin Kippen

The whole point of this trip was really to see how I could develop this musical concept into Bullseye glass. There isn’t really anywhere else I could do this...I have used Bullseye glass in Kenya for a huge project, for a cathedral there, but I have a very limited range of color. I have frits and I have some sheet, but I don’t have a range... So to be able to come here and have the whole range available to me, both frits and powders and sheet glass, and two millimeter, and three millimeter...it was an astonishing situation. I was like a kid in a candy shop when I got here. I just couldn’t believe what was possible.

John Kenneth Clark

BULLSEYE FACTORY STUDIOS

2019

Dylan Gebbia-Richards

BULLSEYE FACTORY STUDIOS

2019

Published in conjunction with BULLSEYE GLASS ARTIST RESIDENCIES 2015-2020

For artwork and artist information, contact Bullseye Projects projects@bullseyeglass.com

bullseyeprojects.com @bullseyeprojects

bullseyeglass.com @bullseyeglass

FRONT + INSIDE COVERS

Joanne Greenbaum in residence at Bullseye Resource Center New York, 2018.

BACK COVER

Jen Stark in residence at Bullseye Resource center Los Angeles, 2019.

PHOTOGRAPHY Bullseye Glass Co. DESIGN Nicole Leaper

© 2020 BULLSEYE GLASS CO.