This is the first new 3D print I have received. It is a larger variation of my stacking decanter and cup set that is being converted into a stacking pitcher and cup set. Below is a brand new mold that I poured using the print as a positive. I was able to get 3 successful pulls from this mold during my blowslot on the night of 9/23. I will be posting updates of those pieces as soon as they are out of the annealer.
The field trip to the TMA and 20 North Gallery was beneficial to me in many ways. Being in the Sights and Sounds gallery gave me a good idea on how I am going to display my pieces in both their housing and lighting. Being in the gallery atmosphere also gave me a sense of relief when it comes to seeing the final product.
Our time at 20 North was also greatly beneficial to me. As an artist who spans across disciplines, I do at some point hope to have work in galleries at some point in my life. Our time with Condessa was valuable in the sense that she took the fear away from the experience. External galleries have this intimidating factor to them, and seem like an unreachable goal. The way she explained the process of application and communication with the gallery really seemed like common sense when boiled down to the roots of what she was saying. This really gave me a feeling of relief and a confidence boost about applying to an external gallery.
I found this assignment to be helpful in terms of truly figuring out what I want to achieve within my own scope of ability as a glass artist. The artists that I have chosen all speak very strongly about their passion for the material and art form, and I find that very inspiring. The artists that I chose to research and gather information on are Lino Tagliapietra, Brad Turner, and Pietro and Ricardo Ferro. Both Tagliapietra and the Ferro brothers are traditional glass maestro’s from the Venetian island of Murano, while Brad Turner is a contemporary glass artist currently practicing in Vancouver, Canada.
One of the things that I find interesting about this divide in the practice, how 3 of the 4 artists are traditional and the other contemporary, is how everyone still feels this strong draw and passion for the material. Lino and the Ferro brothers both began their careers from a very young age; Lino at 12 and the Ferro brothers around the same time. Brad Turner received a degree in kinesiology before his BFA, yet still found the love of glass stronger and continues to practice and break boundaries within the glass community.
Lino’s work inspires me based on the minuet details of his pieces. the forms are not necessarily all that complex, mostly based in large and stretched wave forms. But it is the sheer complexity of his cane and murrine work that sets him apart from all others. Watching him work is also awe-inspiring. In the video posted by the TMA, all of the staff speak of him as a master of his art. His process so refined, based on many differing concepts form and technical complexion. He is always attempting to make things bigger and better, and never stopping. At 84 years old, and at the furthest end of his 72 year long career as a glass artist, he is quoted in saying that he is producing some of the best work in his life. If that is not inspiring then I am not sure what is.
The Ferro brothers are traditionally trained gaffers and cold workers who produce their own pieces and cold work pieces for many other glass artists whom reside in Murano. Once again I draw immense inspiration from their dedication and refinement of their art. The article/video they speak of how they were raised around glass, beginning early through their grandfather and father. They say that their cold working techniques derive from the want of achieving new forms and color; a layering effect. In the video, their process and technique is highlighted while observing Pietro observe a form, and begin drawing on organic and flowing forms on the piece and then carving away meticulously with a lathe; which in turn adds an entirely new dynamic and depth to the piece which would have never been visible otherwise.
Out of all of these artists, my favorite in terms of work and process would have to be Brad Turner. Turner received his BFA from the Alberta College of Art and Design and his MFA from Alfred University. Turners work ranges from conceptual and functional pieces, and his primary process of creating comes from more of design standpoint like myself. He attempts to take everything into account across the range of aesthetics to function. Turner is quoted in the article above as saying,
“It’s (glass) always had its own history separate from other creative worlds and hasn’t made the jump or been accepted into the greater fine-art scheme of things very well because it fostered its own strong culture. Now we’re at a time where we’re getting ready to expand into that world. The battle of the previous generation of glass artists was technical: they had to learn how to build furnaces and how to get glass.…The challenge for my generation is what to make, how to make something new and take it in a different direction. That’s the tough challenge, but it’s also why glass is poised to infiltrate the fine-art world.”
This statement is the best way to sum up the majority of what I gathered from this assignment. Observing work and drawing inspiration from traditional and contemporary glass artists has given me an excellent idea on process, technique, and the new and creative methods of thinking about the material that I had not fully grasped before.
Part B:
After this assignment, I decided to push my own boundaries with size and form. In my primary body of glass work, I do not tend to work larger than I need, but after viewing Lino and the Ferro brothers work I knew I wanted to experiment with traditional forms. This piece was my second attempt, I had shattered the first attempt after blowing it too thin on the bottom. After completing this piece, I gained a new appreciation for working with the glass, treating it with respect and learning how to heat and properly maintain it. This will apply to my thesis because heating and shaping come into play regardless of size within a piece, and after this I achieved a new and better format for my stacking pieces.