IRA LUJAN
DESTIG TORONTO - ART | DESIGN | TRAVEL - ISSUE 09 / JANUARY 2021
BEST OF 2020 | TODAY'S GREAT CANADIAN ARTISTS | SPECIAL ART FEATURES | HOT PICKS
"HOW MARVELOUS THAT THEY BROUGHT FORTH SUCH MAGNIFICIENCE FROM THEIR BRUSHES AND CHISELS." - ANONYMOUS
"Native American art has always been a vessel for storytelling, utilitarian, and ceremony purposes. I started my studies of glass by recreating some of these vessels. My hope is that, as people view these familiar pieces they look deeper into the vessel to feel and hear the stories that were told but in an older language interpreted from the living light of glass."
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Ira Lujan was introduced to glass blowing in Taos, New
grandfather on the Taos Pueblo Reservation and finding
Mexico during the summer of 2000. He went on to
arrow points chipped from obsidian. I would say look I
begin an apprenticeship with the Native American
found an arrowhead, he would laugh and say that’s just
Glass Artist Tony Jojola. He then studied under
glass. I am from Taos Pueblo and Ohkay Ohwingeh
Preston Singletary at Pilchuck Glass School during the
Pueblo the northern Pueblos of New Mexico. But I grew
summers of 2006, 2009. He also studied under Pole
up and went to school in Albuquerque.
Turners in 2012, 2013, 2014. Working with Jojola and Singletary brought forth the unique possibilities of
After high school I moved to Eugene Oregon for a short
incorporating Native themes and influences with
time. There is where I discovered Glass Blowing at the
ancient techniques of glass blowing. Today, Lujan's
Eugene Glass School. When I returned to New Mexico I
work is highly influenced by everyday scenes of Classic
enrolled in art classes in Taos.
Native American Pueblo life. One of these classes was Glass Blowing taught by Tony Please share with us a bit about your background.
Jojola a Native American from Isleta Pueblo. In Taos,
Ever since I was young I believe glass was a part of me.
surrounded by all the teachings of the arts, is where I
My first memories as a young boy are hiking with my
realized glass would be my vision quest for this life.
How would you describe the unique DNA of your art? The unique DNA of my art is described as two art forms using the Four Elements but opposite processes combined in an attempt to create a new art form. Glass is pottery that has an inner glow. Clay and glass start as sand. Glass and clay are molded when malleable, the difference is one uses fire and the other water. Clay you can touch, glass is created with a breath of air. These two mediums have been around for centuries, its only that now Native Americans have access to Glass as an art form. Through collaborating and teaching glass with other Natives, I have been inspired by the movement and the story it tells is the same as the pueblo culture - it reflects a unique visual language that I have connected to. This interaction has inspired my own work.
Share with us some insight into your process. My process starts with a 2000 degree gathered ball of molten glass melted in a furnace on the end of a blowpipe. I layer my colors using powdered color glass which is sifted on the outside of the molten ball then melted and cooled then gathered over incasing the first, sifting the next color over. When the blown form has slowly cooled to room temperature, I then draw and cut stencil tape on the outside of the form. Next, I use a sand blasting cabinet to sand carve the first layer of color to create my design work for each unique glass piece as the final step to my process.
How do you want your art to impact the viewer? Native American art has always been a vessel for storytelling, utilitarian, and ceremony purposes. I started my studies of glass by recreating some of these vessels. My hope is that, as people view these familiar pieces they look deeper into the vessel to feel and hear the stories that were told but in an older language interpreted from the living light of glass. What are typical reactions when people first discover your work? When people first discover my art the first thing they ask “is that glass?”. How is it done? But mostly they are drawn to the way light shines through the colors. Tell us about 3 of the artworks that define your career. The first piece is a series that I am still making. The canteen was the first blown piece that I mastered. Its an important piece in that its become a monetary production piece in a series that helps my process evolve.
"I am currently working on Pueblo Pottery forms of the South West." The second piece is also a series of sculpted glass figures called The Water Carrier. The importance is in the story it tells. Inside the walls of the Taos Pueblo there is no plumbing or electricity. Water is gathered in pottery and carried home on to of the heads of these pueblo women. The chandeliers have had a huge impact on my career. It has brought my work into the installation area and has a cross over European and Native American beauty. Share with us some of the themes and concepts that you have explored. The first three years blowing glass I explored some Italian forms and techniques. It was a great experience blowing glass as thin as possible and still have it come out in one piece, unbroken. Also, a great foundation for blowing straight glass forms, I’ve learned skills to keep the glass form balanced, clean, and uniform. What are you currently working on? I am currently working on Pueblo Pottery forms of the South-West. Keeping the design motif true to shape of the form, scale, and intricacy. To complete the glass pottery with a stylized sculpted lid. What directions are you interested in exploring? Chandeliers, exploring new concepts of realistic glass sculptured inclusions to the chandeliers. What intrinsically attracts you to sculpting glass? I was attracted to the flow of the material and the interaction of the team work that comes with glass blowing. And also the discipline that comes with working with hot glass because heat, timing, and patience has a lot to do with the outcome of the piece. Website: www.ilujan.artspan.com