GAS International Student Online Exhibition - 2014 Juried Selection

INTERNATIONAL STUDENT ONLINE EXHIBITION

2014 JURIED SELECTION

2014 JURIED SELECTION CATALOGUE CHOSEN FROM THE INTERNATIONAL STUDENT ONLINE EXHIBITION

Education Committee Jiyong Lee Natali Rodrigues Cassandra Straubing Amanda Wilcox Patty Cokus Designers Online Exhibition - Patty Cokus Juried Selection Catalogue - Kristin Galioto

Published December 2014

ABOUT THE EXHIBITION & CATALOGUE The 2014 International Student Online Exhibition is an all-inclusive exhibition, published on the GAS website. It is a non- juried exhibition and open to all current full-time GAS student members. The exhibition catalogue features a juried selection, including 1st, 2nd and 3rd place winners, honorable mentions and additional selected works. Awards for top entries are provided by the Glass Art Society.

All pieces are original, professionally crafted, contain glass as the main element and were designed/created between 2013-2014.

FEATURED ARTISTS First Place Josh Hershman Second Place Kate Clements Third Place Mary Ayling Honorable Mentions Erin Hoffman, Leah Kudel, Anna Lehner, Madeline Martin, Melony Stieben, Lauren Wilson Selected Works Jenna Borges, Alexandra Feeney, Brianna Gluszak, Ryland Gulbrandsen, MarĂ­a RenĂŠe Morales, Jon Moreno, Lisa Naas, Clare Peters, Leana Quade, Rebecca Szparagowski JURORS Laura Donefer Michael Endo Amy Morgan

FIRST PLACE

By using these sculptures as actual functioning cameras, I manipulate light and encourage alternate ways of looking at photography by allowing the optical and fluid qualities of glass to bring new meaning and depth to the photographic image.

Enabling the work itself to capture these forces, the invisible and counter-intuitive nature of light is revealed. Using the camera as a point of departure, I emphasize the aesthetics of its design, functionality, and iconic meaning, effectively demonstrating how images can both shape and distort our culture, memories, and global consciousness.

JOSH HERSHMAN Alfred University Alfred, New York

Derealization 2014 Size varies Cast glass, fused glass, alternative photo process, ceramic decals, tripod Photo by artist

SECOND PLACE

Untitled (WALL) is assembled of over 40 separate lace-like parts that can be reconfigured to the size and space that it is installed in. The Amber Room and the front gate at Catherine Palace in Russia are inspiration for the decorative nature of the piece.

Taking from the architecture of a palace and translating it into a glass wall or barrier evokes a conversation of faรงade and the fragility of image.

KATE CLEMENTS Tyler School of Art at Temple University Philadelphia, Pennsylvania

Untitled (WALL) 2013 96 x 96 x 0.25 in Kiln-fired frit Photo by Sam Frinch

THIRD PLACE

I had a secret to share, but no one to tell.

No one was listening. So I tried to swallow it, but it sat there.

Calcifying in my mouth until I decide to give it to you.

Can you understand its shape now?

Shaping Silence was a performance where alginate was spooned into my mouth until it was full. I began saying a thought that had previously been lying silent. As I spoke, my words were muffled by the hardening alginate, simultaneously giving shape to my desired expression and choking on it. The secret took its final form in cast glass.

MARY AYLING University of Michigan Ann Arbor Ann Arbor, Michigan

Shaping Silence 2014 1 x 1.25 x 1.5 in Cast lead crystal glass (Relic created from a live performance) Thoughts. Silence. Time.

Photo by Math Monahan

HONORABLE MENTIONS

HONORABLE MENTION ERIN HOFFMAN Tyler School of Art at Temple University Philadelphia, Pennsylvania

Intertwined 2014 Variable size Yarn burn - out of kiln with glass frit Photo by artist

The yarn burn out process shows the versatility of glass when there are set variables and openness to material transformation. Glass frit was massaged into yarn and then laid into a kiln. Through the firing process the yarn pieces took on their own forms. While I can control the color, size, and amount of frit the yarn will move freely into their own creations. The process embraces uniqueness, letting go of control, and finally allowing the glass yarn to live outside the kiln as sculptures frozen in time.

HONORABLE MENTION LEAH KUDEL Alberta College of Art + Design Calgary, Alberta, CANADA

“I really feel like we have a connection�

2014 8 x 5 in Blown glass and plasma neon Photo by Joe Kelly

My art practice revolves around the idea of absence, specifically negative space. I am fascinated by how the absence of something becomes highlighted solely because of the fact that something or someone no longer exists. The absence in a sense materializes. I love attempting to highlight the negative spaces between people through the use of objects that initiate uncanny social interactions.

HONORABLE MENTION ANNA LEHNER University of Wisconsin-Stevens Point Stevens Point, Wisconsin

Contagion 2014 8.5 X 5.75 X 39.5 in P창te de verre Photo by artist

My work is strongly influenced by music, landscapes and the interest in the unknown. The motion in which music is executed, the way that landscape rolls as you move along are all very intriguing to myself. I look for simplicity in these moments and inspiration from materials. I investigate the quiet moments: space between notes in music and pauses between words. I aim to shift perception and develop questions of existence.

HONORABLE MENTION MADELINE MARTIN Rochester Institute of Technology Rochester, New York

Duck and Cover 2014 6 x 3 x 2.5 ft Glass, 1950’s desk, rusted metal, tea dyed paper, and fishing line Photo by Elizabeth Torgerson-Lamark

Civil defense classes became standard in public schools. Students learned about radiation, hydrogen bombs, and survival techniques. Duck and cover was the most used and common drill in schools. Teachers were encouraged to perform drills where they would suddenly yell, “Drop!” and students were to duck down and hide under their desks with their hands around their heads and necks.

HONORABLE MENTION MELONY STIEBEN Alberta College of Art + Design Calgary, Alberta, CANADA

Under a Scope 2014 12 x 16 x 1/8 in Bullseye frit and powder, plaster drawing Photo by Joe Kelly

Patterns in nature have always captured my attention, creating the allure to continually explore their intricacies. The microscopic world hides from our unassisted eyes to reveal intensely intricate structures when we look through the microscope. Radiolarian and diatoms, in their intricacy and structure, has become the focus of my practice. My work replicates their intricate delicate structures and patterns creating a means to look at them without the use of a device, creating awareness to an otherwise invisible entity.

HONORABLE MENTION LAUREN WILSON Sunderland University Sunderland, UNITED KINGDOM

Reconstructed 2013 41.4 x 20.5 x 1.5 cm Screen printed Bullseye kiln-formed glass Photo by David Williams

Inspired by life experiences, Reconstructed expresses the breaking and healing of my jaw in surgery. Appearances on the surface against reality, which can be contradictory, is a comparison of internal versus external. The interaction between glass, image and light is exploited through layering and fusing. Deconstructing my X-ray by cutting printed glass, I have rearranged the fragments in the manner of a jigsaw, creating a lens-like quality giving movement to the image. This allows me to reveal how memories and feelings of the surgery have faded over time and are not visible on the surface, yet the evidence of the X-ray shows the medical alteration.

SELECTED WORKS

JENNA BORGES Tyler School of Art at Temple University Philadelphia, Pennsylvania 2d Scan of 3d Movement This is an image of a three dimensional piece of glass that was scanned and turned into a two-dimensional image that shows movement and striations reminiscent of music or time.

ALEXANDRA FEENEY Alfred University Alfred, New York Peaked II This piece examines surface quality and the unique light aspect that neon and argon posses to change the appearance of the object. Casting colored light altered the perspective and extent of the edges within the crevasses. Investigating how light sources change the color of surfaces which in turn results in a changing of the space.

This piece also investigates the abstraction of geography and turning it into a different organic shape. Drawing inspiration from the Rocky Mountains and being overwhelmed by the beautiful sunsets casting colored light over the white snow was the initial inspiration for this piece.

BRIANNA GLUSZAK Alberta College of Art + Design Calgary, Alberta, CANADA Wood Grain What entices me most about working with glass is the possibilities to create dimension within pattern. I look at things we encounter almost daily and dissect them into obscured images of themselves. By watching and thinking about what is constantly surrounding me I create patterns. Glass is a vehicle that productively manifests my creativity. Through experimentation in both the hot glass and cold working I am constantly developing ways of manifesting my patterns and experiences.

This particular piece takes the dimension of murrine and juxtaposes it with the imagery of wood grain.

RYLAND GULBRANDSEN University of Wisconsin-Stevens Point Stevens Point, Wisconsin Reminiscent This work is tied to the idea of the selfpreservation of a species. Bees have the most perfect survival structure. Acting off of instinct alone, without outside interruption, bees will thrive indefinitely as a species. I compare this idea to the notion that the human race, through the use of free will and thought, is on the decline because we no longer function in primal and instinctual ways as the bee does.

The emptiness and decay of these combs reference the human race. I use honey in my work because it never fouls, symbolizing hope and the notion of self-preservation.

MARÍA RENÉE MORALES Vicarte, Universidade Nova de Lisboa Lisbon, PORTUGAL FRECUENCIA ETÉREA Through my work, I intend to explore the interaction between matter, space and body, the transition of surfaces and its textures, the space occupied by objects and also the “unoccupied” space. In this body of work, a sequence suggested movement through the repetition and the shift of an individual wave from its original position. In the interim, each piece spun on its own axis. Light played an essential role, stealing the “skin” of glass while passing through it. The shadows projected on the wall created a body greater than the space occupied by glass.

JON MORENO Alfred University Alfred, New York Weathered Prompted by research on the international style of architecture, this material exploration of the Sydney Opera House involves themes of memory, its deterioration, and my relationship to those experiences. These forms depict how a single occurrence can exist in different states, weathered by time, altered by the subjectivity of memory, giving different perspectives of a once clear single event.

LISA NAAS Edinburgh College of Art at the University of Edinburgh Edinburgh, UK Embodiment Embodiment is the first of a series of works in progress considering the idea of the Self that continues to “be” while changing with the death of every moment. The particular glass technique is my own modified pâte de verre.

The result is extremely light glass pushed to its furthest fragile limits and yet the shape still holds. This glass piece hangs by one strand of fishing wire, turning in the air and allowing light to catch the unique qualities of the aventurine blue and changing the viewer’s perspective of it by the moment.

CLARE PETERS Australian National University Canberra, AUSTRALIA Community With a background in health, I have witnessed the fragility of the human body, but also the great strength that arises, when one is supported or is held in community. The fragile brittle nature of glass, in combination with light, resonates with these ideas. I aim for my work to evoke a sense of hope and comfort to the viewer. I want it to uplift and restore, and to convey ideas of relationship. I desire for the beauty and hope in life to be revealed, and thus bring a sense of encouragement and support.

LEANA QUADE Alfred University Alfred, New York Coulage Intense heat, luscious light, and erratic fluidity are a few fascinations I have with glass as a material. My latest two bodies of work are about exploiting glass in a surrealist sense that invites the viewer to question the material and what they are seeing. The Coulage series shows off the beauty of light, heat, and fluidity of glass in its molten state, a characteristic most people never experience. It gives the viewer a chance to see glass in a new way and think twice about how it acts, moves and functions, forming new questions to its potential and possibilities. My goal in developing these series is to inspire curiosity by revealing the mystical properties of glass and shedding new light on the surprising characteristics and capabilities of glass. [Excerpt] WATCH THE VIDEO: http://vimeo.com/83129570

BECCA SZPARAGOWSKI Southern Illinois University Carbondale Carbondale, Illinois Crystal Landscape Study While the form mimics the swells of rolling hills, the landscape is only complete with the interaction of light.

SELECTED WORKS IMAGE DETAILS JENNA BORGES 2d Scan of 3d Movement 2014 Hand held glass scanned with an open face computer scanner Photo by artist

JON MORENO Weathered 2014 12 x 13 x 11 in (each) Blown, carved, sandblasted glass and adhesive Photo by Shaun Griffiths

ALEXANDRA FEENEY Peaked II 2014 8 x 12 x 20 ft Neon, argon, folded paper Photo by artist

LISA NAAS Embodiment 2014 46 x 31 x 12 cm Bullseye aventurine blue glass, kiln formed by a modified pâte de verre process Photo by artist

BREANNA GLUSZAK Wood Grain 2014 11 x 11 x 5.5 in Hot worked, fused and cold worked glass, steel and wood Photo by artist

CLARE PETERS Community 2014 59 x 59 x 2 cm Pâte de verre on heat treated copper sheet Photo by David Paterson

RYLAND GULBRANDSEN Reminiscent 2014 6 x 16 x 12 in Cast glass, wood, honey Photo by Anne Morgan

LEANA QUADE VIDEO Coulage 2014 16 x 16 x 47 in Molten glass, water Photo by artist

MARĺA RENÉE MORALES FRECUENCIA ETÉREA 2014 3 x 6 x 2 meters Slumped float glass, wire, light Photo by David Pereira

REBECCA SZPARAGOWSKI Crystal Landscape Study 2014 5.5 x 6 x 2.5 in Fused glass

JUROR COMMENTS

Laura Donefer

Michael Endo

Amy Morgan

Thank you Glass Art Society for giving me the opportunity to lounge in my shadowy room and spend so many happy hours perusing such wonderful student work! Never mind the word student! Many of the creations that I viewed were of such a high calibre that I know these artists are well on their path to great success! Those of us privileged enough to work with glass are well aware of the technical challenges that must be overcome before concept takes over in the dance of the creative process. Not an easy balance, that! But after reviewing the work of all these talented people, I came to the happy conclusion that art being created with glass is alive and well in the world today, and that the new generation of artists are indeed bounding forward. There seems to be a technical virtuosity married to a deep conceptual sophistication, with many of the works being hauntingly profound. Being part of this jury gave me hope and gave me happiness, and I want to congratulate all the students who took the time to submit to this online exhibition. Good luck with your future endeavours, it is evident that many of you have a passion and commitment to your art, so enjoy the journey ahead!

I rarely know what I am looking for until I see it. Something overlooked one day may catch my eye the next. A work that at one point I championed, I may later dismiss. If the jury were yesterday, the results may have been different. These aren’t original statements nor are they universally applicable. Everyone, every juror, is different (another powerfully unoriginal declaration). I make these statements for those that weren’t selected who may be feeling the sting of rejection and to the winners who may be preening. Yes, we should be proud of our accomplishments and we should also use defeat as the fire that keeps us striving. We should not, however, let these things define our practice. Juried competitions, by their nature, are subjective. So, that being said, the works that struck a cord in me were the pieces that inspired feelings that aren’t often associated with glass or with images on a screen. This feeling must have been somewhat shared by the other jurors as consensus was easily reached. The selected works are filled with longing; Longing to be remembered, longing to be touched, longing to connect, longing for intimacy, longing for the past… what I’m unsure of is whether this is a reflection of the zeitgeist or a reflection of the jury.

It is apparent that many young artists have taken a new direction in working with glass. The GAS International Student Online Exhibition illustrates an advance and bias towards conceptually driven sculpture. Rather than focusing on technique and objects, the entries clearly fell into the glass secessionist movement melding concept and narrative while showing undeniable creativity. There were pieces that brought out the ethereal quality of glass while connecting it to abstract yet substantive ideas detailed in their respective artist statements.

However in many instances, there were pieces that didn’t connect in any way to the artists’ insights. I hope that these students continue to explore the medium, always with the intent of finding their own voice. The artists whose work appealed to me most were those that were totally unlike anyone else’s work, using glass in unique, unusual ways.

JUROR

Laura Donefer Artist Ontario, CANADA

Laura Donefer has been using glass as her primary medium for more than thirty years, often in combination with diverse materials. Known for her innovative, colorful blown glass and flame worked “Amulet Baskets”, she also pushes the boundaries with work that explores ideas concerning memory, assault, bereavement, joy and madness. In demand as an exciting teacher, Laura has taught workshops and given lectures worldwide, including Japan, the United States, and Australia. Her work is many public and private collections, including the Corning Museum of Glass, Museum of Glass in Tacoma, and Museum of Fine Art in Montreal to name but a few.

Laura has been honoured with many awards, among them the Lifetime Achievement Award from the Glass Art Association of Canada, Honorary Lifetime Membership Award from the Glass Art Society, for her dedication to the glass community at large, and the International Flameworking Award for “extraordinary contributions to the glass art world”.

Every few years Laura organizes one of her wacky, exuberant Glass Fashion Shows, a fantastical spectacle for the international glass community to enjoy. www.lauradonefer.com

JUROR

Michael Endo Artist/Curator, Bullseye Projects Portland, Oregon

Michael Endo earned an MFA in painting from Cranbrook Academy of Art, Michigan, in 2009 and a BA from Portland State University, Oregon, in 2005.

His work has been exhibited internationally and has been selected for group and solo exhibitions.

Endo now resides in Portland, where he continues his studio practice as as an artist and as a curator at Bullseye Projects. www.michaelendo.com

JUROR

Amy Morgan Owner/Director Morgan Contemporary Glass Pittsburgh, Pennsylvania

Amy Morgan, owner and director of morgan contemporary glass gallery, in Pittsburgh, PA has been involved in the contemporary glass world about 18 years. Prior to opening her gallery in her current space in 1998, which became Pittsburgh’s first gallery devoted exclusively to exhibiting studio glass, Morgan was a partner in a boutique public relations agency. She has served as a juror for several local and national awards, and has been a speaker and panel member for numerous arts organizations including GAS and the International Flameworking Conference and the National Art Appraisers. A past board member of In The Society for Contemporary Craft and a founding board member of The Pittsburgh Glass Center, she is also a former board member of and advisor to the Creative Glass Center of America; a member of the Art Alliance for Contemporary Glass, and the Glass Art Society. morganglassgallery.com

6512 23rd Ave NW, Ste 329 Seattle, WA 98117 T: 206.382.1305 E: info@glassart.org www.glassart.org

BOARD OF DIRECTORS 2014 - 2015 Roger MacPherson (President), Kim Harty (Vice President), Cassandra Straubing (Vice President), Ed Kirshner (Treasurer), Alex Bernstein (Secretary), Chris Clarke, Matt Durran, Lance Friedman, BJ Katz, Tracy Kirchmann, Jiyong Lee, Jeff Lindsay, Marc Petrovic, Natali Rodrigues, Masahiro Nick Sasaki, Jan Smith, David Willis, Amanda Wilcox (Student Rep)