Adam Kruszyński
Adam Kruszyński, Poland, Touch, 2005
blown glass, cold-worked, Dimensions: 13/13,5/30
Adam Norman Jenkins
Adam Norman Jenkins, Australia, The Fall Of Eve, 2019
Kiln casting glass, 50/25/20
Albena Dimitrova
Albena Dimitrova
Juha’s dream, 2015
Сънят на Юха
Fused glass, slumping
Dimensions: 32/32
Albena Dimitrova
Bulgaria, Meditation, 2020, Fused, 60/0.5/40
Alejandra Toribio
Alejandra Toribio, Argentina
no title, 2013
Fused glass, slumping, float glass, sand blasted glass
Dimensions: 18/14/7
Aleksandar M. Lukić
Aleksandar M. Lukić, Serbia, Holy River Drina 02, 2022, Fused glass, Dimensions 64/21/9
Alina Mdalina Panturu
Alina-Madalina Panturu, Romania, Wrinkled Shirts, 2021, Fused Glass, Dimensions: 60/2/70
Andrea da Ponte
Andrea da Ponte, Argentina
Swallowing words, 2018
kiln casting glass
Dimensions: 24/8
Ana Viñuela
Ana Viñuela, Spain, Of land to sea, 2020, Pâte De Verre, 2 x 30/30/1
'Of land to sea aims to represent the beauty of two antagonistic but at the same time complementary elements, such as the sea and the land. He is represented in this sculpture, which shows how the experience of both changes, by the colors that vary according to the perspective and by external conditions such as light, which constantly affect them.'
Ana Laura Quintana
Ana Laura Quintana, Argentina
Nature Cups, 2019
pate de verre
Dimensions: 11,5/40/19
Ana Quiroz
Ana Quiroz, Mexico, New Relic, 2020, Assembled glass, Dimensions 28/27/13
Anastasiya Tonkova
Anastasiya Tonkova, Bulgaria, Scar I & II, 2017, Fused, Mixed technique, 35/30/2
Andra Jõgis
Andra Jõgis, Estonia
Letters from home, 2016
Print on glass, cold-worked, layered glass
Dimensions: 17,6/25/1,5
Andra Jõgis
Andra Jõgis, Estonia
Dendro, 2019
blown glass
Dimensions: 50/50/120
Andrea da Ponte
Andrea da Ponte, Argentina
Globalized, 2015
Blown glass, image transfer
Dimensions: 36/36/36
Andrea da Ponte
Andrea da Ponte, Argentina, Globalized 2.8, 2018, Blown Glass, ø27cm
ARTIST INFO: Born in Avellaneda, where I still live and work.
I am passionate about teaching and I share my knowledge with my students from Argentina and from around the world creating new spaces of communication and experimentation of the recently developed methods.
I use the physical characteristics of glass to talk about a timeless world of constant movement and relate it to an iron containment. Two opposite materials on both transparency and fragility. I think the narrative of my pieces expresses different kinds of lectures, it leaves a part open for interpretation of the viewer.
Anita Darabos
Anita Darabos, Hungary, Fragment, 2020, Cold Worked, Fused, Layered, Mixed Technique, Sandblasted, 24/74/11
Anjali Venkat
Anjali Venkat, Singapore, Tide Pool, 2021, Assembled, Cold Worked, Enameled, Fused, Lamp Worked, Layered, Painted, Slumped, Dimensions: 10/45/45
Anjali Venkat
Anjali Venkat, Singapore
Altereal- Emerge, 2018
pate de verre, fused glass, slumping, float glass, mixed technique, layered glass, other
Dimensions: 14/4
Anton Vrlić
Anton Vrlić, Croatia
Comet, 2016
Komet
Cut, polished and laminated optic glass
Dimensions: 15/13/8
Ake Rawdmek
Ake Rawdmek, Thailand, The uncertainty 2, 2019, Blown Glass, Dimensions 36/30/30
Aoife Soden
Aoife Soden, Ireland
A Test of Buoyancy, 2018
blown glass, mixed technique, other
Dimensions: 19/19/15
Armando Granja
Armando Granja, Panama, At sunrise, 2021, Kiln cast, 13/13/36
Arthur - heArthur - van Buuren
Arthur – heArthur – van Buuren, Netherlands, You are up in the air, 2022, Fused glass, 24/15/13.5
ARTWORK DESCRIPTION: 'This formidable sculpture is made in a mix of red, pinks and blue. The
light circle seems to fly! It is only fused to the dark inky blue
quarters of circle.'
Arūnas Aleksandras Daugėla
Arūnas Aleksandras Daugėla, Lithuania, Ocullists, 2018, Blown Glass, Cold Worked, Hot Sculpted, Dimensions: 40/10/15
Bernadette Neven
Bernadette Neven, Belgium, Dead Nature, 2021, Pâte de verre, Kiln casting, Screen printing, Dimensions 50/50/50
Birgit Köblitz
Birgit Köblitz, Hungary, Princess, 2021, Kiln formed, bended, 37/35/11cm, ARTWORK DESCRIPION: The object is based on the fairy tale of the frog prince, only here the roles have been reversed: The princess is waiting for the kiss. It makes us wonder who we really are, and whether captive or sheltered. Under the arches protected, above the arches floating. In front of the gates, waiting ...on waving ground ... on winding roads ... - the world is colorful and sometimes the gray shades are fetching. This is a well-known, recurring story that still hides so many interesting discoveries.
ARTIST INFO: Glass defines my everyday life, influences the way I see things and urges me to change, and I am interested in these special moments and changes. I would like to grab them as they rhytmically meander into each other and to share these experiences with others so they can feel them too.
I am interested mainly in the transparency of glass, as its unstoppable strength is woken up by the colours that run through it. I like the dialogue with the material as its condition, its surface and transparency changes when it warms up and then it returns, freezes into a picture full of the experiences of all the changes it went through. For this I find decorative elements, drawings and figures and then place them into exciting compositions.
In my latest creations I playfully combine different techniques with which I reach new forms of expressions, although the arch motif is an always returning metaphor.
Under the arches protected, above the arches floating. In front of the gates, waiting ...on waving ground ... on winding roads ... - the world is colorful and sometimes the gray shades are fetching. This is a well-known, recurring story that still hides so many interesting discoveries.
Creating glass sculptures and architectural glass are both close to my heart The usage of coloured glass in architecture is a very responsible task because it influences our soul directly. The given space and its air are always inspiring, they are my source of creativity. It is an important aim for my glassworks that are made for communal places, to remain modern. It has to reflect the personality of the glass artist not only technically but in its form as well because it is the only way for it to become an integral part of the architecture withstanding the passage of time.
Caterina Zucchi
Caterina Zucchi, Italy
Light and Shadow,
Blown glass, sand blasted glass, mixed technique, 30/30/6cm
ARTIST INFO: I’m a researcher of forms; my creations have always been distinguished by this research, even in the period when I was training, during my studies, stages or workshops.
What I’ve found in glass and the glass blowing technique is the ideal and proper means to push this personal research forward.
My artistic path concerns the attempt to let Murano glass jewels which are tied to the thousand-year-old history of decoration since forever, to have a new contemporaneity.
My interest in glass art started in 2000 and had consistently brought me on as a student at the Vetroricerca Glas & Modern Institute of Bolzano and the Abate Zanetti School of Glass of Murano where I spent one year as assistant graffer in a master glassworker atelier, until 2004, when I opened my studio in Leghorn. In May 2015, the Tuscan Region conferred me the title of Master Artisan.
Studiozero vetro is the laboratory where I design and create Murano glass jewels, either blown or not, which are entirely handmade.
Among the numerous glass-working techniques, I’ve chosen the blowpipe technique because it’s based upon instant actions, and it requires precision and ability of gestures that make the glass even more versatile. This method allows improvisation to have much larger edges so I can better express my creativity.
Creativity is an urgency, a spontaneous gesture, a moment, a mood. I’m not in search of the perfect glass bead, but of an object that is in harmony with the environment surrounding it, coherent and close to my creative impulse.
Carlos Sánchez
Carlos Sánchez, Mexico, Ethereal souls, 2022, Kiln formed, 45/30/10
Caterina Zucchi
Caterina Zucchi, Italy, „Monster“ necklace, 2022, Engraved, Lamp worked/Flame worked, Mixed technique, 60/30/10cm,
ARTWORK DESCRIPTION: I wanted to do something unpleasant.
Intrusive, overbearing and annoying. Aggressive and somewhat arrogant.
I didn't want to achieve harmony and balance. I thought of starting from a reverse thought to create something monstrous, a frightening opprobrium. Perhaps, I should have tried harder to achieve a worse result than this.
ARTIST INFO: I’m a researcher of forms; my creations have always been distinguished by this research, even in the period when I was training, during my studies, stages or workshops.
What I’ve found in glass and the glass blowing technique is the ideal and proper means to push this personal research forward.
My artistic path concerns the attempt to let Murano glass jewels which are tied to the thousand-year-old history of decoration since forever, to have a new contemporaneity.
My interest in glass art started in 2000 and had consistently brought me on as a student at the Vetroricerca Glas & Modern Institute of Bolzano and the Abate Zanetti School of Glass of Murano where I spent one year as assistant graffer in a master glassworker atelier, until 2004, when I opened my studio in Leghorn. In May 2015, the Tuscan Region conferred me the title of Master Artisan.
Studiozero vetro is the laboratory where I design and create Murano glass jewels, either blown or not, which are entirely handmade.
Among the numerous glass-working techniques, I’ve chosen the blowpipe technique because it’s based upon instant actions, and it requires precision and ability of gestures that make the glass even more versatile. This method allows improvisation to have much larger edges so I can better express my creativity.
Creativity is an urgency, a spontaneous gesture, a moment, a mood. I’m not in search of the perfect glass bead, but of an object that is in harmony with the environment surrounding it, coherent and close to my creative impulse.
Catryn Shilling
Cathryn Shilling, United Kingdom, Consonance Diptych, 2019, Kiln Formed Glass, Fused, Slumped, Dimensions: 45/85/18
Cedric Ginart
Cedric Ginart and Karina Guévin, Canada, The goose and the golden egg, 2021, Lamp worked/Flame worked, 44/16/16
ARTWORK DESCRIPTION: 'This work is sometimes inspired by the wonderful world of classical literature and folk tales, our adventures around the world or by an old alchemy book that makes us dream. This work evolves and changes with the experiences and challenges we face along the way.'
Chad Holliday
Chad Holliday, United States, Buttress Sprocket, 2015, Mold melted, cut and polished, color shifting light reactive glass, 38/36/8cm, ARTWORK DESCRIPTION: “Buttress Sprocket” is a new exciting direction for my work. I have been very interested in incorporation the circular with the buttress. Here they offer a supporting opposition to the sprocket or gear side. All of these elements show the energy that cast glass can embody.
ARTIST'S STATEMENT: ESSENCE FROM THE PRIMORDIAL
The foundation of my work lies within the understanding of primordial forms and their purpose throughout history. These are forms that are repeated throughout history by different, and separate cultures for a similar purpose. Using this as the initial basis for my research, I have then linked this to the aesthetics found in Czech glass, starting with Professor Stanislav Libensky and Jaroslava Brychtova, and the ideas that are found in Cubism and Constructivism. I utilize the scientific method when approaching my research. I believe that artists and scientists are inherently linked. This foundation allows me to draw from a multitude of resources in art history, psychology, and physics while considering my primary philosophy. As my work has developed, I’ve utilized a repeating dialogue incorporating space and time, using visual elements that are inherent in solid cast glass. The primary, defining element of sculpture is time. Time is seen as the “fourth dimension.” Time is a very significant asset for this discussion as it is for many contemporary sculptors.
The interior space in my work is its final defining element. I term this as the “fifth dimension.” In this aspect light becomes a linking factor between these two dimensions. By thinking of light as an element of construction, the light allows me to conduct the viewer, as well as the space within the object and eventually the space around the object. Light is essentially the defining and primary factor in cast glass and what links the latter.
By bringing these elements together with the intuition gained with experience, I have found ways of creating new space by multiplying the visual space. This is the most significant attribute unique to glass. This is achieved by an extensive knowledge of the casting process and refining or cold working, of the material as well. Just as my philosophical foundation relates to the Czech Aesthetic, so is my expertise in the refining or “cold working” of the material.
All of these elements together become extremely significant in my research. They do not operate independently. Rather they work cooperatively and cannot exist without the other. As a sculptor working in glass, it is my charge to understand and harness these properties to enable the work to be conceived. With this in mind, consider the idea of “Imagineering.” Due to the nature of the material I must have an awareness and intuition that allows for the manipulation of light, which in turn constitutes a multiplication of space.
Cheryl Edwards
Cheryl Edwards, Australia, Ash, Sinuous Series, 2022, Kiln formed, Fused, Hot worked, Sandblasted, 15/17.5/36cm,
ARWORK DESCRIPTION: Cheryl is interested in the infinite
possibilities of structure, pattern and color. Places play a big part in her inspiration and she sees pattern everywhere, both natural or human made. Building various patterned layers and constructing forms
within the boundaries of chance and intent she finds glass to be the perfect medium to explore this.
The majority of Cheryl's work is made with Murrini a technique made in the hot shop. The Murrini glass is the first part of a multi step process to create her vessels. Sheet glass is sandwiched together and
heated then stretched, the process is repeated to miniaturize the pattern. Then the glass is cut into small tiles and fused together in a kiln. She then uses those pieces to form her art.
Chiara Bettoncelli
Chiara Bettoncelli, Italy, Water, 2015, Acid etching, Cold worked, 45/6/1
ARTWORK DESCRIPTION: 'Acqua is a contemporary jewel handmade in Murano glass and organza; a versatile ornamental element, a belt-necklace for women with a minimal aesthetic, which goes particularly well with dresses with silk and crepe satin details. (…) To evoke the watery element, the material has been kept in its original texture in a hand-pulled slab: each piece is, in its simplicity, unique, as one differs from the other precisely due to the particular veins of the
surface.'
Christine Vanoppen
Christine Vanoppen, Belgium, Out of Line, 2022, Flame Worked, 50/45/18
ARTWORK DESCRIPTION: 'I create works that speaks of both the complexity of life and the woven and coiled aspects of the cocoon. Very graphic sets are reminiscent of drawing in space. Through a play of shadows, light and transparency, I invite the viewer to contemplate the fragility of life, the strangeness of dreams between illusion and reality.'
Claudia Henao
Claudia Henao, United States, Sacred Letter, 2020, Pâte De Verre, 14/6/5
Claudia Virginia Vitari
Claudia Virginia Vitari, Italy, Interstitial Identities, Umaru, 2022, Silkscreen on glass, layered, fused, rolled-up and coldworked, D 15-16
ARTWORK DESCRITION: 'The cycle “Umaru” does not explore the in-between spaces inhabited by a whole group at risk of exclusion (as was the case in my previous work) but is focusing on the personal story of a single individual. Umaru is originally from Guinea-Bissau and in 2022 he was able to return to his home country for the first time to visit his family after waiting for 15 years for the appropriate documents. The three silkscreened and rolled-up glass spheres, exhibited in dialogue to each other, are a study for an installation based on texts written by Umaru himself and countless dialogues which took place in my studio during the pandemic captured on portraits.'
Cristinа Ilinca
Cristina Ilinca, Romania, Woman (5), 2021, Blown glass, 40/12.5/15cm, ARWORK DESCRIPTION: My artist mission is to reflect into my work the miracle of life, to mirror as well as I can the fascinating diversity of life. Woman series is part of a larger cycle in my body of works called Miracle of Life. I think that glass, as a fragile, still robust material, with its unique qualities, is suitable for representing life. They both share fragility, delicacy and yet an incredible strength. The degrees of transparency one can obtain from glass are both marvelous metaphors and good enough physical representations for the mysterious processes of life creation.
Cristina Migliorini
Cristina Migliorini, Argentina
Aquarius, 2019
pate de verre
Dimensions: 12/6/4
Dainis Gudovskis
Dainis Gudovskis, Latvia
Remotely Happy, 2016,
Blown glass, 34/40/26cm
Dalia Doron
Dalia Doron, Israel, The deadly voyage towards freedom, 2022, Fused, Pâte De Verre, 24/12/6
ARTWORK DESCRIPTION: 'This boat flotilla was created in memory of the immigrants who are trying to change their lives for the better and survive for a better future. The flotilla will include 34 boats, memorialising and honouring all those who drowned in that dilapidated boat in the English Channel, as well as all those who have lost their lives attempting to seek asylum. Then “What is the Measure of Man?” The thinness of the boats symbolizes the fragility of life. The colours I chose are white, red, and black, with a hint of blue. White or transparent glass symbolizes the transparency of the people, while red and black symbolize life and death, blood and mourning. The hint of blue represents the sea. Twisted ropes of red will also be attached as an ambiguous symbol of life and death.'
David Schnuckel
David Schnuckel, United States
Cartograph, 2017
blown glass, fused glass, free fall, other
Dimensions: 50/50/5
Demetra theofanous/Dean Bensen
Demetra Theofanous/Dean Bensen, United States, Beneath your feet, 2019, Pâte De Verre, Sandblasted, Dimensions 6/34/44
Derya Geylani Virusan
Derya Geylani Vurusan, Turkey, White Night ( “Moment” series), 2021, Flame worked, Mixed technique, Dimensions 30/35/20
Desiree Sessegolo
Désirée Sessegolo, Brazil, Voids, 2020, Mixed Technique, Dimensions 3/31/31
Desiree Sessegolo
Desiree Sessegolo, Brazil
AMAZON, 2018
fused glass, mixed technique
Dimensions: 200/400/20
Dominique Jurić
Dominique Jurić, Croatia, Rising, 2021, Mixed Technique, Dimensions 30/30/30
Eda Ilbeyci
Eda Ilbeyci, Turkey
Existence, 2019
kiln casting glass, molded
Dimensions: 28/15/10
Elena Shushlyakova
Elena Shushlyakova, Russian Federation
Day before spring, 2018
kiln casting glass, mixed technique, other
Dimensions: 500/200/350
Elina Bilous
Elina Bilous, Ukraine
The memory of earth, 2015-2017
Пам'ять землі
Fusing, Metallization
Dimensions: 35/35/3
Elke Mank
Elke Mank, Germany, Bombing Sofia 1944; What Remains? 1944, 2022, Painted glass, fused, 2 x 30/30/0.6
ARTWORK DESCRIPTION: 'Time and again wars are fought and the result is always destruction, misery, hopelessness and death. The price of war is paid by soldiers and the population of all countries involved. In times of globalization, the whole world suffers from the striving for power of individuals. The partly transparent pictures, which are almost only possible with glass, allow a different view of the war. Then only when we see the hopelessness and need clearly can we understand, help and learn from the mistakes.'
Elmira Belova
Elmira Belova, Russian Federation, The balance, 2016, Blown Glass, Cold Worked, Dimensions 50/10/13
Eunkyoung Lee
Eunkyoung Lее, Republic of Korea, Overlapping Sequence, 2022, Cold worked, Kiln formed, Fused, 31/57/53
Evgenia Lukianova
Evgenia Lukianova, Russian Federation, Regatta, 2020, Cold Worked, Dimensions 150/57/75
Eunkyong Lee
Eunkyong Lee, Republic of Korea, The melody in the landscape, 2020, Cold worked, Fused, Kiln Cast, Dimensions 24/40/3
Fatma Ciftci
Fatma Ciftci, Turkey
Leave! 2017
Git!
Kiln casting, cold-working, sanding
Dimensions: 5/24/30
Gayle Buzzi
Gayle Buzzi, Canada
The Coons, 2019
pate de verre
Dimensions: 12/30/12
Giovanni Paseri
Giovanni Paseri, Venezuela, Optical Helicoid, 2022, Fused glass, assembled, 20/20/130
ARTWORK DESCRIPTION: '“Optical Helicoid” is a installation conceived as a three-dimensional structure made up of tetrahedrons with glassy edges, which rotate in a helical mode. The geometry of this work generates a rigid and at the same time flexible volumetry, between material (glass) and space (empty), contrasting with the fragility of glass and the structural strength of a 3D truss, antagonistic concepts within the same object.” In some of the triangular faces, optical pieces are inserted that seem to float along the structure and also outside it when illuminated, projecting onto the surrounding planes, making a light play of reflection and refraction.'
Grisel Pereyra
Grisel Pereyra, Uruguay, Memories in the bubble, 2021, Mixed Technique, Dimensions 40/40
Guillermo + Dina Silpituca + Priess dos Santos
Guillermo + Dina Silpituca + Priess dos Santos, Argentina
The printed pineapple, 2019
kiln casting glass, pate de verre
Dimensions: 27/35/24
Han de Kluijver
Han de Kluijver, Netherlands, Anchored movement, 2019, Kiln cast glass, 140/40/25
Herbert Monsieur
Herbert Monsieur, Belgium, Impression of a sunset, 2020, Assembled, Cold worked, Stained glass, Mixed Technique, Dimensions 40/30/30
Inguna Audere
Inguna Audere, Latvia, Mitten of My Past, 2022, Кiln cast, cold worked, painted, 60/11/13
ARTWORK DESCRIPTION: 'Rooted in Latvian mythology and traditions every mitten has a story. Every pattern has meaning bringing with it a special wish represented by symbols found in the pattern. This mitten’s shape taken from my hand reflects personal ethnography where chosen symbols from everyday life are embedded in the work. These symbolic objects, my mother-in-law’s jade beads, a poppy head, and clock pointer, together create a narrative or a form of visual poetry.'
Inita Emane
Inita Emane, Latvia, Horizon line, 2022, Assembled, Cold worked, Kiln formed, Fused, Mixed technique, 21/39/26
ARTWORK DESCRIPTION: Man lives in harmony with nature, its resources. The aggressive and irresponsible activity of the industry poses a threat of disaster to our Baltic Sea. The pollution is faster than the plans to save the existing ecological environment of the Baltic Sea. Horizon line- gives feelings of infinite peace to emotions and joy of life. How to protect it?
Ioana Stelea
Ioana Stelea, Romania, Notes, 2021, Blown Glass, Cold Worked, Engraved, Dimensions 70/60/20
Iva Kolorenčová
Iva Kolorenčová, Czech Republic
Above Elbe, 2008
Nad Labem
Painting on glass
Dimensions: 6x25/35
Jacob Willcox
Jacob Willcox, USA
Conversation, 2018
Jaime Graschinsky
Jaime Graschinsky, Argentina
Woman with Light, 2018
kiln casting glass
Dimensions: 22/15/15
Jan Hooghiemstra
Jan Hooghiemstra, Netherlands, Journey, 2020, Sand Cast, 42/62/11cm
Jan Hooghiemstra
Jan Hooghiemstra, Netherlands, Carry on, 2021, Sand cast, 10/22/22cm
Jasminka Begić
Jasminka Begić, Croatia, Turn on the light when I'm gone, 2021, Fused, 35/45/8
Jean-Philippe Paumier
Jean-Philippe Paumier, Netherlands, Eternal Spring, 2020, Hot worked, Mixed Technique, Dimensions 48/16/6
Jean Thebault
Jean Thebault, France, Lava Flow, 2020, Blown Glass, Cold Worked, Dimensions 40/27/12
Jelena Popadic
Jelena Popadic, Netherlands, Byzantium Blue, 2022, Blown glass, Sandblasted, 18/21/2cm, ARTWORK DESCRIPTION: Tara throne is a unique glass sculpture dedicated to my daughter Tara and spiritual connect that we had when she was growing in my belly. I often heard her singing and this peace is a visualisation of my daughter songs songs and stories recorded in "Acasha lybrari"
I graduated in the glass department in 1991 at the G. Rietveld academy in Amsterdam and last 31 years I am working as an independent artist, designer and lecturer.
ARTIST'S INFO: Jelena Popadic (1964, Yugoslavia) studied Civil Engineering in her native country and then went on to study art and graduate with a BA in Art & Design from the Rietveld Academy in Amsterdam. Since her graduation she works as an independent glass artist and teacher but she also has been active in the field of painting, music and cinema.
Her objects are usually made of blown glass, mainly sphere, cylinder or cone shaped and often color underlayed. Signature cold working techniques are cutting and above all deep sandblasting, creating deep almost surreal indents in the objects' surfaces. The symmetrical patterns she creates refer to cell structures, crystals, molecules and atoms. She transforms glass into subdued objects which become very different in their outward appearance.
One of the most prestigious works Jelena Popadic has made is the traditional "Oranje Vaas" on the occasion of the 25th anniversary of Queen Beatrix as monarch of The Netherlands. Her work is part of many private and public collections, including the Dutch National Glass Museum and the acclaimed Ernsting Stiftung Glasmuseum in Germany.
Jianyong Guo
Jianyong Guo, China, Brilliant life, 2021, Assembled, Cold worked, Engraved, Kiln cast, Mixed technique, Painted, 61/75/25cm
Joaquim Falcó and Meritxell Tembleque
Joaquim Falcó and Meritxell Tembleque, Spain, All fires, 2021, Cold Worked, Fused, Layered, Dimensions 70/45/37
Jonas Noël Niedermann
Jonas Noël Niedermann, Switzerland
Floating Lines, 2018
blown glass, sand blasted glass, cold-worked, 20/28/28cm, ARTWORK DESCRIPTION: The work represents my fascination for glass: its transparency, multiple layers - and therefore - its illusionary. White and black lines are flowing in the transparent glass imitating smoke lines in the air. This self invented technique working with folding coloured lines in transparent hot and glowing glass, allows to work on multiple layers. The strings/pattern is not as usual on one layer between the glass but moves up and down in all glass layers. Not knowing where the start and the end of the string is - similar to such on a DNA string – the pieces have unique details. The surface of intertwined strings are in a high contrast to the monochrome inside, and because of its complicated technique they will never meet. Transparent glass is always in between in order to let the strings float up and down in the material. A new and unique approach letting the lines flow not only in one of the consecutive layers but exploring different depths of the glass. This technique is a result of working experiences as a glassblower made during my 36 months of glass journey in Murano | Italy, Denmark, Austria, Germany, Sweden, and the USA.
ARTIST'S INFO: Jonas Noël Niedermann attributes his precise eye for shapes and dimensions to the mighty Swiss mountain ranges he grew up in. Working with those who devoted their entire lives to glass art, he developed a unique appreciation for the intricacies of glass, studying everything from the big picture to the smallest details. As a result he has an artistic voice that is strongly individual while echoing the works of historical greats.
Josipa Baljak
Josipa Baljak, Croatia, Brass line, 2021, Cold Worked, Fused, Mixed Technique, Dimensions 30/30/70
Julia Kastler
Julia Kastler, Austria, Heart Space, 2020, Painted, Stained glass, Dimensions 61,4/45/4
Josipa Baljak
Josipa Baljak, Croatia
The relationship of blue, 2019, Kiln casting glass, cold-worked, Dimensions: 35/35/35
Julia Kruteeva
Julia Kruteeva, Russian Federation, The soul of botanist departing to his paradise, The soul of botanist departing to his paradise, 2019, 71x40
Julia Rokina
Julia Rokina, Russian Federation, Illusion, 2015, Cold Worked, Fused, Glass with inclusions, Dimensions 18/13/10
Julia Rokina
Russian Federation, Oreada, 2013, Cold worked 30/15
Karen Nyholm
Karen Nyholm, Denmark, Flourish, 2020, Hot sculpted, glass with inclusions, 93/33/22cm, ARTWORK DESCRIPTION: I strive to be excellent at my craft. This skill set opens up possibilities for making work of high quality. At the same time it can be a limitation for expression. Sometimes it is necessary for me to take a step back and observe the habits and the paths that I have trod so many times before. And the result can be that I fall in love with the material anew. My work often concerns the body and various emotions relating to different parts of the body. All my life I have been creating things with my hands. My hands perform a kind of communication, sometimes with me as a puzzled spectator. My sources of inspiration are dynamic and constantly moving. Transience and our interaction with nature are important issues in my works. In addition to glassblowing, I use techniques from other disciplines such as silversmithing, oilpainting, ink, beadmaking and ceramics. This cross-over is very stimulating and opens up new ideas and possibilities for my artistic expression.
Katherine Southam
Katherine Southam, Canada
Journey, 2019
kiln casting glass, glass with inclusions, other
Dimensions: 13/6/32
Kim Logue
Kim Logue, New Zealand
Melts, 2018
Kiln casting glass, fused glass, glass with inclusions, mixed technique
Dimensions: 5/27/36
Krista Israel
Krista Israel, Netherlands, Seedpod #4, Seedpod Series, 2014, Flame Worked, Blown Glass, Cold Worked, Assembled, 20/20/20cm, ARTWORK DESCRIPTION: Seedpod Series of small glass objects is an ongoing series since 2014. It consists of small seeds covered with glass spikes. These pieces are made when I need time to think about bigger and complex work.
ARTIST INFO:
“Krista Israel is a mixed media artist with a main focus on glass. Looking at her work it is like entering a story. The artworks are pleasing to the eye, but there is a layer of bittersweetness in all of them. Her works are in a realistic style, but it is not about the obvious reality. She is an artist who uses a broad variety of techniques, using the natural characteristics of glass to express her thoughts and reflections of the world and people, thus addressing the needs of our well-being. The combination of different techniques and her thoughts make her work complex and intriguing.”
Helene Besancon National Glass Museum (NL), Neues Glas Magazine
Kristína Ligačová
Kristína Ligačová, Slovakia, Bubbles, 2020, Blown Glass, Mixed Technique, Dimensions 25/25/19
Kesniia Vekshina
Kesniia Vekshina, Russian Federation, Spring Wind, 2020, Kiln Cast, Dimensions 24.5/26.5/1.8
Kim Gromoll
Kim Gromoll, Netherlands, Cocoon, 2020, Lamp worked/Flame worked, Mixed technique, dimensions variable (1 - 10 cm)
ARTWORK DESCRIPTION: 'Within cocoon a selection is shown of an ongoing process in which deceased insects are gathered throughout daily life. A fragile husk is all that remains from many of these creatures, yet upon closer inspection immense beauty may be found in their transient physical presence. Through adopting the insects into this colony of unseen passing, a new stage in the post-lifecycle is set in motion. Encased in a thin and vulnerable glass cocoon, they are offered temporary protection & preservation from outside influences, human or natural alike. The glass cocoon as an intervention allows for the short life of each of these individuals to resonate beyond their own time. An opportunity for us to take a more attentive look at these tiny beings which account for the majority of life on the planet.'
Kseniia Vekshina
Kseniia Vekshina, Russian Federation
Ice, 2016
kiln casting glass
Dimensions: 39/43/1.5
Kwun Lan Wong
Kwun Lan Wong, China, I thought you were listening, 2022, Blown glass, Hot sculpted, Painted, 67/40/30
ARTWORK DESCRIPTION: 'Using life-sized glass characters, my work manifests the anxiety generated by the fragility of trust and intimacy in contemporary human relationships. The medium of glass allows me to demonstrate the interdependent relationship of life. Glassblowing requires close teamwork. Based on the logic of human coexistence, the further we are away from our community, the harder it is for us to feel peace and satisfaction. With the help and trust of other glassblowers, My character expresses my inner self in this safe community. Characters’ forms and gestures evoke the audience's empathy.'
Lada Uchaeva
Lada Uchaeva, Russian Federation
Silense, 2018
print on glass, cold-worked
Dimensions: 40/34/10
Laura Lærke Nielsen
Laura Lærke Nielsen, Denmark, Tactile Landscape, 2022, Blown glass, 18/18/32cm,
ARTWORK DESCRIPTION: Working with shards I create a sculptural surface I refer to as a landscape. It requires the cooperation of the materials, as the glass body partly determines where and how specific shards attach. This cooperation is half frustration, half fascination, as the at times wayward behavior of the glass body and the inability to shape it with my hands, makes the process wild and messy.
The end result does not reflect that, instead it appears friendly, soft and appetizing.
ARTIST'S STATEMENT: 'I have always been creative, and during my own creative development, I discovered glassblowing during a stay at a folk high school.
Glass is a fantastic material to work with—robust, sensitive, and willful. I find it exciting to challenge the classic, clean style in glass, which is why I think my glass pieces have a playful and sensual expression. They are all made with immense love for and respect for the material and the process, and each individual piece of glass has received special treatment.
My designs are contemporary fusions of sculptural and functional elements.
I work with recycling shards from failed glass pieces. Admittedly, it's a simple idea to transform something flawed into something new and beautiful, but nonetheless, it's a condition for all people. It's something we all experience throughout life in different disguises.
In my glass pieces, there is a clear connection between the old, broken, and the new, colorful. I work with two different expressions, depending on how early in the process I melt the shards in—I call them tactile and swirley.
Swirley is when the shards are fully melted in, and the colors take on a watercolor-like expression. The tactile is when the shards are melted into the glass later and protrude. It's the hardest to work with, as it disrupts the glass bubble or glass body during the process, and it's naturally not possible to shape the body itself after the shards are fused in. It is a constant source of both fascination and frustration.
I stick to a basic form for the glass body, as the shards should be the focus.I have always been creative, and during my own creative development, I discovered glassblowing during a stay at a folk high school.
Glass is a fantastic material to work with—robust, sensitive, and willful. I find it exciting to challenge the classic, clean style in glass, which is why I think my glass pieces have a playful and sensual expression. They are all made with immense love for and respect for the material and the process, and each individual piece of glass has received special treatment.
My designs are contemporary fusions of sculptural and functional elements.
I work with recycling shards from failed glass pieces. Admittedly, it's a simple idea to transform something flawed into something new and beautiful, but nonetheless, it's a condition for all people. It's something we all experience throughout life in different disguises.
In my glass pieces, there is a clear connection between the old, broken, and the new, colorful. I work with two different expressions, depending on how early in the process I melt the shards in—I call them tactile and swirley.
Swirley is when the shards are fully melted in, and the colors take on a watercolor-like expression. The tactile is when the shards are melted into the glass later and protrude. It's the hardest to work with, as it disrupts the glass bubble or glass body during the process, and it's naturally not possible to shape the body itself after the shards are fused in. It is a constant source of both fascination and frustration.
I stick to a basic form for the glass body, as the shards should be the focus.'
Laura Madsen
Laura Madsen, Denmark
Gargoyle Meltdown, 2017
blown glass, mixed technique
Dimensions: 23/17/17
ARTWORK DESCRIPTION: 'I am primarily educated at Orrefors Glassbruk in Sweden but I have also worked at Simone Cenedese in Venice. In addition, I have participated in several courses around the world for example at Sar-Porteries, France and at Pilchuck in Seattle. In 2002 I founded my own studio LaMa Glas in Denmark, where I have been working ever since. I have always been fascinated by the glowing hot glass and the bright orange colour. I find that the transparency and fragility of the finished glass pieces are in great contrast to the intense work process with the hot melted glass. I try to maintain a moment of this process in my work to achieve a lively and organic expression. I have chosen a piece from my “gargoyle” collection, where I combine sandcasted heads with the hot blown glass. Gargoyle melt down is a sculpture/vessel, where I have applied sand casted heads and then gathered glass around it. The shape of the heads melts and the faces left in the glass are traces made only out of small bobbles and sand grit; it appears as a frozen moment of time.'
Laure Fradin
Laure Fradin, France
Behind The Clouds, 2016
blown glass, 30/10/92cm, ARTWORK DESCRIPTION: This piece is a homage to some of the beautiful things that my mother told me as a kid. The first time that I was confronted by the loss of a member of my family, I felt devastated and lonely. My mother told me that, if I found some pink clouds in the sky, it meant that the relative who I had lost was thinking about me. And in a way I can still be connect to this person. These days I feel nostalgic and think of all the beautiful moments that I share with people that I love.
Born in 1985 in Paris, France, Laure Fradin grew up in a normal family complete with plenty of secrets and baggage. As a little kid, Laure aspired to become a professional photographer of cats and dogs (for kitsch postcards), or a cathedral builder. After a Bachelor of Photography at the University of Paris VIII, Laure was introduced to glass through the stained-glass work of Fréderic Biardeau. At this time, Laure was beginning to explore family stories through her photography. She also began to question how to capture the significance of everyday objects.
In 2010, Laure found her true passion for glass and decided to start blowing glass full time. This love would inspire her to leave Paris for a small village of 500 people to learn the craft. After two years honing her skills, she graduated with first class honors from the CERFAV. Her curiosity for glass drove her to travel around the world and led her to spent six months in the Tobias Mohl Studio, in Denmark. She is now a design associate at JamFactory in South Australia where she continues to explore ideas of haunting family histories and the creative potential of everyday objects in her work.
Lee Harris
Lee Harris, United States, Reliquary of a Pope, 2021, Assembled, Blown Glass, Hot Sculpted, Dimensions 46/20/20
Ljiljana Barković
Ljiljana Barković, Croatia, Couple, 2021, Cold Worked, Fused, Kiln Cast, Mixed Technique, Dimensions 13/6/6.5
Lothar Böttcher
Lothar Böttcher, South Africa, Crouching Leopard, 2021, Cold worked (Schott optical glass), 19/5/12cm, ARTWORK DESCRIPTION: Crouching Leopard is part of my Precious Beast series of sculptures inspired by Palaeolithic art. My Precious Bests are a meditation on the process of making, linking mankind throughout millennia as imaginative and creative creatures. These fantastical beasts are an attempt to find the magic within us all.
ARTIST INFO:Lothar Böttcher intersects sculpture, photography and light to create visually striking works that ignite curiosity, tell stories and combine exceptional craftsmanship in the oeuvre of glass as expressive medium.
Lothar’s work has been seen in museums and galleries around the world since the late 1990’s, including the Corning Museum of Glass (USA), the Pretoria Art Museum (South Africa), the Glasmuseum Frauenau (Germany), the Glasmuseum Lette (Germany), the Glasmuseum Hadamar (Germany), the Toyama Art Glass Museum (Japan) and the Smithsonian Renwick Gallery (USA).
His work can be found in public collections of museum, as well private collections world wide, most notably the Corning Museum of Glass and the Glasmuseum Frauenau.
Lothar is a leading voice for the creative glass community, curating and coordinating several major exhibitions and project, such as Fired Up! for the United Nations’ International Year of Glass 2022 at the Pretoria Art Museum. He has instigated and lead collaborative projects to promote the use of glass as an expressive medium through the “Blow Your Sculpture” events hosted since 2016.
Lothar also shares his knowledge as invited guest lecturer at the Tshwane University of Technology’s Glass Art & Design department.
For the 2024 Glass Art Society conference in Berlin, Lothar is part of the international cold-working collective, the Lathe Riders.
The Lathe Riders will, for the first time in history, open the GAS conference with a cold-working demo.
