Contemporary Canadian Glass

par: Mathieu Grodet

Au mois de mars dernier, j’ai eu la chance de voir ma demande de résidence accepter a Corning,

Après avoir reçu la lettre d’acceptation, j’avais touours du mal a y croire. Mon projet consistait à bénéficier de l’atelier de soufflage afin de souffler des verres à pied, “des blancs” pour pouvoir les gravés ou les émaillés ensuite.

Mon projet nessesitait un assistant en plus d’un traditionnel agencement d’atelier de soufflage.le programme prend en charge les frais de deplacement, un lieu de vie et un budget pour l’alimentation. “we take care of you”.

J’ai donc pris un bus pour Corning,NY de Montréal le 29 fevrier2012. Arrivé a Corning aprés une journée de transport, et une nuit de sommeil, le premier jours était consacré a decouvrir ce lieu mythique, à rencontré les acteurs,professionnels,techniciens ou professeurs. Le deuxième jour, j’ai donc commencé mon marathon de 97 heures de soufflage disseminé dans le mois de Mars.j’ai donc rencontré Ross Delano qui sera mon assistant pour tout le mois.Quand Harry Seaman et Jeremy Unterman m’ont fait visiter les ateliers,une phrase revenait souvent, “What ever you need, we have it, and if we don’t, we will make it for you” “Nous avons tous ce que tu pourrais avoir besoin,et si nous ne l’avons pas, nous pouvons le fabriquer pour toi” , rien a ajouter…le “titre” de paradis était alors justifié…

Les ateliers de Corning fourmille de monde toute la journée de 8h a 22H…se croise des touristes, qui après avoir acheter un ticket pour souffler une boule de noel ou faire une fleur, attendent leurs tours, des ex-employés de Steuben (fermé) qui, pour la pluspart soufflent des citrouilles pour le magazin du musée, des professionnels qui loue les ateliers pour faire leurs propre production, des “hobbyistes” qui se font plaisir a experimenter plusieurs techniques pas toujours conventionnel mais pleinne de surprise, des enfants ou groupes de tous ages sont aussi présent pour different programme autour de la decouverte du verre. Bien sur les ateliers de Corning ne compte pas seulement le verre a chaud, mais également, thermoformage/fusing, chalumeau,atelier a froid, pate de verre,vitail ou tiffany,

Ensuite j’ai rencontré l’autre atiste en résidence pour le mois de mars,Norwood Viviano.

Partager un appartement peut être difficile pour certain d’entre nous a different dgrés, Cela a été très facile avec Norwood, parfois, quand une “alchimie“ se forme, alors ce temp et espace partager finissent par devenir un plaisir, et même un moment d’échange productif en dehors des ateliers de “travail”. http://www.norwoodviviano.com/

J’ai egalement recontré Amy Shwartz, directrice des ateliers. Portes toujours ouverte, la parole est libre et peut eventuellement digréssé sur d’autre sujet que le verre…

Bien sur, j’aussi eu l’occasion de rencontré Bill Gudenrath, figure incontournable pour tout souffleur de verre…Bill travail seul dans une chorégraphie pas toujours evidente d’en lire les arcanes, Bill Gudenrath est musicien, il travail le verre comme un dansur respectant la music, il y a du rythme, des doubles croches avec moments d’intensité et …des blancs, des attentes, delicats, invisible…

Je n’avais plus qu’a travailler, essayer d’être au “niveau”, de répondre aux attentes.

Quels attentes? Je ne le sais toujours pas…c’est comme dans les films americains, quand tous le tableau est parfait, tout le monde est trop heureux, alors on sait qu’ils(les scenaristes) nous préparent une “catastophe” ou une transition… le probleme et de la même taille que le bonheurs initial des personnages… bref, “que va t’il arrivé?” ,”trop beau pour être vraie”

Mais qu’est ce qu’il attendent de moi? Qu’obtienne t’il en echange?

Mon Ami Dan Mirer m’a donné un élément de réponse…parlant de mes interrogation, il m’a simplement répondu “ just make the world a better place.” “simplment de rendre le monde meilleur” what could I say?   Que pouvais je repondre?

A Month in Paradise

by: Mathieu Grodet

In March of this year I had the chance to realize my accepted application for the Corning Studio residency. After receiving the acceptance letter, I had trouble believing it. My project was to benefit from the Hot Studio to blow stemmed glasses, “blanks” to be engraved or enamelled on later. And research historical forms and techniques in the library and museum.

My project needed an assistant and a traditional glass blowing studio. The program supported the travelling expenses, accommodation and a budget for food. “We take care of you”.

After a day of travel, and a night’s sleep, I spent my first day discovering this mythical place, meeting the studio professionals, technicians and teachers. When Harry Seaman and Jeremy Unterman took me to visit the workshops, a phrase often came back, “What ever You Need, We Have it, and if we do not, We Will make it for you”,… the title of “paradise” was then justified …

The next day, I started my marathon 97 hours of blowing that would be spread through the month of March in between days in the museum and research in the Rakow library and I met the awesome Ross Delano who would be my assistant for the month.

The Corning Workshops are a buzzing world all day from 8am to 10pm. Full of tourists waiting their turn to blow a Christmas ball or make a flower, ex-employees of Steuben who are making glass production for the Glass Market in the museum, professionals who rent the workshops to make their own production to “hobbyists” who are happy to experiment several unconventional techniques that can bring surprises. Children and groups of all ages are also present to various programs around the discovery of glass. The Corning Studio not only boasts hot glass, but also, kiln casting / fusing, flame working and cold studio.

Then I met the other artiste in residence for the month of March, Norwood Viviano.

Sharing an apartment can be difficult for some, it was very easy with Norwood, sometimes when an “alchemy” is formed, then this shared space and time can become a pleasure, and even a moment of productive exchange outside the studio. http://www.norwoodviviano.com/

I also met Amy Schwartz, director of the workshops. Doors always open and easy to talk to. Of course, I also had the opportunity to meet Bill Gudenrath, a key figure for any glass blower … Bill working alone in a choreography that it is not always easy to understand, Bill Gudenrath is a musician, he works with the glass as a dancer guided by the music, there is rhythm, crescendo with moments of intensity and … pause, expectations, delicate and invisible…

I just had to start working, to meet expectations. But what expectations? I still don’t know. My friend Dan Mirer gave me an answer, he simply said “just make the world a better place.” What could I say?

This became a month of intense blowing, trying various forms, sizes and techniques while developing my multi stemmed goblets.

With time to research in the library and reflect on pieces in the museum I took this new knowledge and inspiration and I tried new engraving techniques and blowing styles.

It was an intense, concentrated month of glass, an experience full of openness and endless possibilities to develop ideas and studio skills. With all the support you need. Any artist looking to really develop an idea would love the residency program’s opportunities.

At the end of the month I packed up 8 boxes of goblets to send home, for the second step of engraving and enameling. Now I am finishing goblets in my studio and working towards a three person show at Galerie Elena Lee in October, a great time to present the results of this wonderful experience.

Jamie Gray
June, 2012

As this is our education issue, it seems appropriate to talk about learning and, therefore, teaching.
For a long time, I’ve been interested in becoming an instructor so that I could teach glass art
techniques to people who, for the most part, are interested in art – adults at college level, in other
words. So, to that end, in my last year at the Alberta College of Art + Design, I applied for the
Master’s program in the Fine Arts department at the University of Calgary … and got rejected.
Dang, that hurt. There aren’t many institutions that welcome teachers with less than a Master’s
degree in something. So, at that point I had to rethink my options. Wanting badly enough to
teach made me consider how to search out some possibilities. As time has passed, I’ve happened
to find quite a few that have been viable.

Jamie Gray teaching a children’s class at North Lands Creative Glass, Scotland Photo Credit: North Lands Creative Glass

Being a TA (teaching/technical assistant) for a variety of classes has provided opportunities for
me to offer additional little snippets of what I myself know – only when asked, of course, in that
case! And offering free mini-courses to fellow members of the Calgary Warm Glass Guild has
provided a great opportunity to share. I’ve also co-taught glassblowing at private studios and
enjoyed that an awful lot. And I’ve taught evening and weekend kiln-forming courses at local
glass shops. My favourite thing has been teaching children how to make “monsters” out of pre-
fired scrap glass at North Lands Creative Glass in Scotland. Gosh, glass monsters are amazing
and nobody can make ‘em like little kids. Those little monster-makers taught me a lot. Which
brings me to a very important point: I find that when you teach, you learn. Everyone wins.

“How to Make a Monster” class at North Lands Creative Glass, Scotland Photo Credit: North Lands Creative Glass

Eventually, what I’ve found is two things: my resume is getting loaded up with teaching
experience, and I’m getting pretty much all the instruction time I desire. A few years ago, my
instructor-heavy resume was integral to me receiving a summer session teaching position at Red
Deer College’s Summer Series program. This summer will be my third year there. Now I don’t
tell you all this to brag, by any means; just to let you know that from the humblest beginnings, it
seems that you CAN work your way up to a goal if your eyes are open to possibilities. I’ll still
have to get a Master’s degree if I want to teach formally at an art school, but knowing now that I
can survive without one could make getting one all the more fun.

“How to Make a Monster” class at North Lands Creative Glass, Scotland Photo Credit: North Lands Creative Glass

Speaking of teaching, our conference planning committee is working hard right now deliberating
all the speaking/teaching proposals that came in this month. Thirty-seven of them! All from
folks wanting to come here and teach us something cool. It will be tough to whittle down our
choices to a much smaller number but we’ll be doing that over the next couple of weeks. Do
keep your eye on the conference page of the website to stay updated regarding the conference
(http://www.glassartcanada.ca/public/page/2013%20GAAC%20Conference). We’re already
getting very excited about it as it is less than a year away. Meantime, go learn something. There
is a plethora of glass-related courses offered over the summer here and everywhere. Or, even
better, go teach a glass technique to someone else.

Now, on a more somber note. There’s teaching and there’s teaching, and we’ve been losing
some of our best loved mentors lately including, most recently, Jeff Goodman. Our next issue
(Fall, 2012) will be dedicated to Jeff with us celebrating his life and career, and so we’d love to
hear from you. Please submit your thoughts on Jeff, what he meant to you personally, what his
contributions to Canadian glass mean, anything you’d like. We’re asking for 200 words or less,
in either French or English. Do include any photos you have of Jeff (1025×1025 pixels max).
Submissions may be sent to Benjamin Kikkert at Benjaminkikkert@gmail.com and must be
received by August 1, 2012. We look forward to hearing from you.

Sur une note plus triste. Nous avons eu par le passé la crème de la crème comme enseignants mais nous avons perdu, tout dernièrement, quelques-uns de nos plus importants mentors comme l’a été Jeff Goodman.  La prochaine édition (automne 2012) lui rendra hommage en célébrant sa vie et sa carrière. Nous aimerions vous donner la parole afin de recueillir vos pensées sur lui, connaître ce qu’il signifiait pour vous, en quoi vous pensez qu’il a contribué au verre d’art canadien ainsi que toutes anecdotes que vous aimeriez partager. Votre texte doit avoir moins de 200 mots et peut-être rédigé en français ou en anglais. Vous pouvez aussi inclure des photos de Jeff (1025 x 1025 pixels maximum). Veuillez envoyer vos documents à Benjamin Kikkert : Benjamin.kikkert@gmail.com avant le 1 août 2012. Nous avons hâte d’avoir de vos nouvelles.

We’ve been losing some of our best loved mentors lately including, most recently, Jeff Goodman.  Our next issue (Fall, 2012) will be dedicated to Jeff with us celebrating his life and career, and so we’d love to hear from you.  Please submit your thoughts on Jeff, what he meant to you personally, what his contributions to Canadian glass mean, anything you’d like.  We’re asking for 200 words or less, in either French or English.  Do include any photos you have of Jeff (1025×1025 pixels max).  Submissions may be sent to Benjamin Kikkert at Benjaminkikkert@gmail.com and must be received by August 1, 2012.  We look forward to hearing from you.

Sur une note plus triste. Nous avons eu par le passé la crème de la crème comme enseignants mais nous avons perdu, tout dernièrement, quelques-uns de nos plus importants mentors comme l’a été Jeff Goodman.  La prochaine édition (automne 2012) lui rendra hommage en célébrant sa vie et sa carrière. Nous aimerions vous donner la parole afin de recueillir vos pensées sur lui, connaître ce qu’il signifiait pour vous, en quoi vous pensez qu’il a contribué au verre d’art canadien ainsi que toutes anecdotes que vous aimeriez partager. Votre texte doit avoir moins de 200 mots et peut-être rédigé en français ou en anglais. Vous pouvez aussi inclure des photos de Jeff (1025 x 1025 pixels maximum). Veuillez envoyer vos documents à Benjamin Kikkert : Benjamin.kikkert@gmail.com avant le 1 août 2012. Nous avons hâte d’avoir de vos nouvelles.

By: Brianna Strong

One of the most excruciating aspects of the human condition is experiencing distance; distances between people, birth and death, understanding, moments, communication.   I find the greatest moments of satisfaction and drive are born out of feeling coalescence with different ideas, people, environments, movements, happenings and experiences.

This prevailing desire for connectedness and to bring things together that would otherwise remain at a distance is the governing force behind identifying the parallels between the critical-creative inquiries of glass and drawing.

I am perplexed by the gap that exists between fine art discourse and craft theory and find any sort of discipline-specific determinism counterintuitive as an organic human being.  Research and practice in different fields offer specific visual or functional vocabularies that contribute to a greater language that informs an artist’s approach and navigation of any unknown phenomena that lies in advance.

My intention with this article is to perpetuate the dialogue between fine art and craft and begin to articulate how metaphor and relational aesthetics are bridges that span across the distance between drawing and glass.

It is important to acknowledge my more extensive background in drawing, as opposed to an introductory look into glass, as a way of providing a potential survey of my ignorance.

As a drawer, I employ image and metaphor as a way of navigating sets and systems of symbols and signs.  My way of synthesizing ideas from the content that I investigate is arbitrary and in its most realized forms a mere reflection of something essential.  When I entered my first glass class, I was incompetent as a maker and not indoctrinated with the traditions, methodologies and material knowledge associated with glass.  As consequence, I enthusiastically immersed myself into this novel way of working as if it were my own drawing practice and without making any distinctions between craft and fine art.

I was taken by the profound nature of working with glass and recognized that there is something essential and not arbitrary about material thinking, embodied research and tactic knowledge.  The most appropriate metaphor for this revelation between drawing and glass, between the arbitrary and the essential is the relationship between the nature of drawing and glass materials and light itself.  How symbolic to have paper reflect light and glass capture it.  As a drawer, it is through an experience of metaphor both in conception and in the content of the work that I find access points to glass.

Rachael Wong, Sound System 112"(h) x 221" x 120" 2007

The conception of a metaphor requires a cognitive process by which two ideas are brought together over a distance. The root of the word metaphor literally means, ‘to transfer or carry over’. Stephen Hawking in The Grand Design validates metaphorical thinking as an effective and essential way of navigating the world. Hawking says: “There is no picture-or-theory independent concept of reality.  Instead, we will adopt a view that we will call model-dependent realism: the idea that a physical theory or world picture is a model … and a set of rules that connect the elements of the model with observations.”

He continues to say, “Model-dependent realism applies not only to scientific models but also to the conscious and subconscious mental models we all create in order to interpret and understand the everyday world.”

This speaks to the development of an underlying experience-based framework that enables a subjective conceptual cartography of reality.  This use of sensory input as a means of forming and building a ‘picture of reality’ through an accumulation of understood systems and models that can then be used to inform an understanding of other ideas validates the dominance of metaphor in cognitive functioning.

The significance of this operation in our mental faculties lies in the ability to amass an infinite number of different models or correspondences that we can then lay out relative to one another.

By extension, the inherent design of this mental structure and processing of information has no predetermined constraints or borderlines between the terrains of different disciplines. Through this mental process that organizes our sensory intake across a conceptual plane we effectively become the cartographers to our own ‘world picture’ or view of reality. As viewers and artists, we essentially have the capacity to navigate all fields of study and to understand one thing in terms of other.

Rachael Wong, Red Effect detail 126"(h) x 231" x 10" 2009.

The amassing of information that takes place in a conceptual mapping of the world and in subjective experience can be diagrammed, metaphorically, as dots connected with lines.  This subsequent network or constellations can parallel the use of a map, where the moments that are born from experiences and the sensorial data function as ‘dots’, or points of interest, in cognitive compilations of the world.  More importantly, they function as a coordinate system that informs and connects to one another with lines of thinking that will produce a latticework of conceptual paths to guide an ongoing navigation.

With regard to the nature of discipline-specific points there is the risk of becoming enclosed, self-referential and inaccessible.  However, to abandon the constraints of a discipline-specific determinism, an interdisciplinary approach – which observes the essential and arbitrary qualities of the chosen content – allows the glass artist and drawer to create linkages between images, ideals, models, systems, forms and relational experiences without boundaries.

This sprawling map of intersections and growing networks not only illustrates how the mind processes information but is also a microcosmic example of how people interact with their surroundings, one another and in visual culture.

As Nicolas Bourriaud elaborates in Relational Aesthetics with an explanation of ‘critical materialism’, “The world is made up of random encounters.  Art, too, is made of chaotic, chance meetings of signs and forms.  Nowadays, it even creates spaces within which the encounter can occur.”

Bourriaud’s emphasis of ‘art is a state of encounter’ is important to the realization of an artwork – as simultaneously object and experience – having the capacity to function as a coordinate in a broader system and ever-expanding survey of a conceptual and cultural terrain in contemporary discourse or a subjective experience for the viewer.  The assertion that art ‘creates a space for encounter’ acknowledges the inventive power of art making and the capacity of the artist to contextualize the artwork into correlative measurements to life.  In other words, a drawer or glass artist can produce a connecting line between art form and viewer as a way of providing an enhanced way of navigating the world and influencing their public’s ‘world picture’.

Glass artist Rachael Wong divulged the significance of a viewer’s navigation in a room full of moments during an interview I conducted in October 2011.  Wong defines the art object as “a physical manifestation of experience” and “an embodiment of the moment”.

Her artwork is not only punctuated in space by time, but through her process, there is an amassing of information, navigation of internal and external content and finally an arrival at a captured moment.  When her work is surrendered to the external realm of the public, the art form becomes a coordinate for a viewer’s experience.  In her words, “It is a cyclical process where the making-experience produces a viewer-experience.  It is experience manifesting experience.”

In any discipline, for a latticework of embodied and conceptual points of departure to propagate further experiential latticework that will then influence more, resonates deeply. The relational aspect of the art object is of the utmost relevance in its ability to transcend the constraints of categorization and prompt a perpetual dialogue of experience in a vast field of infinite possibilities.

Rachael Wong, Red Effect, 126"(h) x 231" x 10" 2009.

Brianna Strong

Brianna Strong is a recent graduate from the Alberta College of Art + Design. Her critical-creative practice is invested in observing the underlying designs, concepts and parallels in art, physics, and being.  Strong identifies with Bourriaud’s definition of a “semionaut”, as it makes the end of NASA’s space shuttle program a lot easier to handle.

By: Jamie Gray, president of GAAC

June, 2012

This issue of Contemporary Canadian Glass is dedicated to the topic of education.  So, I thought I’d speak directly to that and send a big shout-out to this year’s graduates of our Canadian glass schools:  Espace VERRE in Montreal, Sheridan College in Oakville, and the Alberta College of Art + Design in Calgary.  Con“grad”ulations, you guys!  You did it.  You made it.  All the late night cramming for exams, panicky project catch-ups, and gruelling critiques are over.  Now comes the tricky part:  becoming who you’ve been practicing to be.  And we’re here to help.

Our glass community is pretty well connected and highly supportive.  The Glass Art Association of Canada provides all new grads with a gift of a free year’s membership and eight images for an individual artist profile on the GAAC website.  We hope that you’ll stay in touch with us as you take these next most important steps in your career.  Send us photos of your new work, articles about your journey, links to your blogs.  We’re interested and we care.

Congratulations must be also be extended to the instructors of our schools.  You taught well and raised up some great up-and-comers; glass artists whom we’ll be watching with interest.

Have a great summer, everyone, full of well-deserved rest!

Félicitations!

Par : Jamie Gray, présidente de la GAAC

Juin 2012

Ce numéro du Contemporary Canadian Glass (Verre Contemporain Canadien) est dédié au thème de l’éducation. Alors, je me suis dit que j’interviendrais directement sur ce sujet et j’en profite pour féliciter les diplômés de cette année des écoles canadiennes  du verre d’art; Espace VERRE à Montréal, Sheridan College à Oakville, Ontario et  Alberta College of Arts and Design à Calgary. Bravo à vous tous! Vous avez réussi. Vous l’avez fait. Toutes ces longues nuits à réviser pour les examens, les rattrapages de projets en panique et les critiques assommantes, tout cela est  révolu. Vient à présent la partie la plus délicate : devenir ce que vous avez appris à devenir. Et nous sommes là pour vous y aider.

Le très bon réseau de notre communauté est d’un grand soutien. L’Association du verre d’art du Canada  fournit à tous les nouveaux diplômés un abonnement de membre pour une année et la possibilité de mettre jusqu’à huit images gratuitement avec leur profil individuel d’artiste sur le site internet de la GAAC. Nous espérons que vous resterez en contact durant ces prochaines étapes très importantes de votre carrière. Envoyez-nous des photos de vos œuvres, des articles sur votre parcours, des liens pour vos blogs. Cela nous intéresse vraiment

Il faut aussi transmettre nos félicitations aux enseignants dans les trois écoles. Vous avez bien enseigné et suscité de grands espoirs pour l’avenir de ces artistes du verre que nous surveillerons avec intérêt.

Bon été à tout le monde, qu’il soit le temps d’un repos bien mérité!

By: Jade Usackas

Sheridan College offers us many experiences to meet and work with members of glass community. Having Jay Mcdonell as a visiting artist was a particularly exciting and valuable opportunity for us all. Not only did it encourage student from all three years to participate, but many graduates and past faculty were also involved. It was an event that really brought people together.

Jay Macdonell with students, faculty and graduates of the Sheridan glass program. Photo credit: Owen Colborne

Laying his foundation with glass in a production-style setting and later developing his own body of work, Jay has a unique skill set. He has been working with glass for the past 20 years and in that time he has accomplished many things. He has experience teaching at several notable glass establishments; Pilchuck, Espace VERRE, Pittsburgh Glass Centre, and more. Additionally, he has worked as a project manager, design consultant and gaffer for numerous artists, designers and architects. He is a talented and noteworthy member of the glass community with the added plus of being a really down to earth and approachable guy.

Jay was kind enough to do two demos during his visit. I was particularly excited to have him gaff a piece I had been trying to figure out all semester. It was impressive to see how Jay’s years of experience enabled him to quickly and confidently devise a plan of action.

Jay Macdonell shaping glass before final post-gather Photo credit: Benjamin Kikkert

Jay also made one of his ‘signature’ pieces. As these pieces are so unique, they are made in three separate and hollow parts. The base, the thick centre bead designed for stability and the flowing and organic top. The process involved three teams and the help of the majority of the people present. As the piece started to come together, the tense excitement that comes with working in the hot shop started to mount. Connecting the top of the piece to the centre bead made an already hefty piece into one that maxed out our glory hole at more than a metre in length. Maintaining consistent heat required using three torches and fluid communication. When it came time to knock off, Jay informed us that these tall and seemingly delicate pieces are best caught carried by their centre. A nerve-racking task I’m glad I didn’t have to take on.

Sally McCubbin and Aaron Oussoren assisting Jay, surrounded Sheridan alumni, Photo credit: Benjamin Kikkert

The piece went away safely, followed by applause and high-fives. It was an amazing experience that is unique to the glass blowing world. Observing and assisting Jay gave everyone a great chance to make a piece with someone who has been working with large teams for years. It was also a treat to work with someone who can articulate their process and instruct – not only with enthusiasm, but also sound effects, a method I’m particularly fond of.

Being a student in my graduating year of a glass program, having the chance to meet and work with someone like Jay was really inspiring. At the risk of gushing like a schoolgirl, Jay is someone that any emerging artist can look up to. He is an active member of the glass community, an easy-going and informative instructor and a skilled artist who has carved an admirable niche. All in all, it was a really great day, and everyone involved had a blast.

Jay Macdonell Photo credit: Benjamin Kikkert

Jade Usackas is a recent graduate of Sheridan College’s glass program. She is attending the Alberta College of Art + Design in the fall.

Republished with permission

Canadian Craft Education Opportunities – Article for i-studentadvisor.com

The history of Craft is as old as the history of humanity itself.  It is intrinsically tied to the production of functional goods for use and beauty, but has expanded over time to include artistic sculpture, contemporary design and unique entrepreneurial abilities.

For those with a passion to create, Craft offers a spectacular range of media to explore. Textiles, ceramics and glass, jewellery and metal sculpture, woodworking, furniture design, fashion and much more are open to personal interpretation and development in Canadian institutions across the country.

Students and instructors work as a team in the Sheridan glass studio

Much like its broad geographic expanse, Canada has an equally broad field of Craft study.  Major urban centres like Toronto, Vancouver, Montreal, Calgary and Halifax have internationally renowned institutions, but smaller cities such as St. John’s, Fredericton, Regina, and Winnipeg or rural towns like Red Deer, Nelson and Haliburton also host respected facilities with unique programming in Craft.

Whether your choice of institution is based on interest in a particular medium, available courses, location or a simple desire to change your life – Canadian schools provide in-depth Craft education paired with excellent community support.

Artwork by Koen Vanderstukken, Studio Head of Glass at Sheridan. Title: Virtual Reality 11-15-05, Dimensions: 49x36x36cm, Materials: Float glass, LCD-TV, camera, hardware

Over 22,000 practicing craftspeople live and work in Canada, many of whom are graduates from one of our leading institutions.  Programs range from bachelors and master’s programs in Fine Art and Design in the university stream, to diploma programs at community and private colleges.  The selection is broad, and each school offers individualistic programs based on technique, history, and entrepreneurship.

Careers in Craft are not contained to that of a practicing artist. University and Colleges offer instruction in curatorial studies, craft and art history, criticism and arts administration.  From conceptual artistic explorations to functional production development, Canadian Craft studies teach artisans to create beautiful, unique works of art while also encouraging skills in business, entrepreneurship, critique and curating.

Alberta College of Art + Design, Glass Olympics, Faculty and Students

This blend of instruction leads students towards excellence in Craft techniques and real-world application skills that allow artists to thrive in the gallery, museum, studio and boutique settings after their schooling is through.  A student of any Craft field could very well become a shop owner, teacher, curator, author, critic, program coordinator or any other arts related profession.

Post-graduation, the options are endless.  But students of Craft in Canada are not left to stumble through the community alone.  An extensive network of regional Craft Councils and the Canadian Crafts Federation is there to guide individual makers; providing opportunities for exhibition and the sale of their work in shops, galleries and fairs, advice on grants, scholarships and other funding, and to continue professional development beyond formal schooling.

Alberta College of Art + Design, Glass Olympics, Faculty and Students

This support system is open to every craftsperson who chooses to become a member of a Craft Council, either during their studies or afterwards.  Individuals who join are connected to over 6,000 other practicing artists and a number of professional staff who offer mentorship, guidance and support in the early, middle and late stages of your career.

Above all else, studying in Canada allows students to experience a free and open society, where students and teachers travel from across the globe to make Canada their home. The history of our country is rooted in immigration, which has deeply impacted the type of Craft both taught and practiced here.  Stylistic and technical influences, especially those from Asia and Europe, have greatly impacted Canadian Craft, yet we maintain a unique presence in the global community.  Canada’s Aboriginal arts are another important ingredient in the understanding of Canadian identity as a whole.  Historic and contemporary studies of Aboriginal Craft are included in general arts courses, and in many cases, as specific college- and university-level programs.

Proximity and Touch #13, Natali Rodrigues, Bigger: 18x32x7, Smaller: 5.5x9x4.5, 2010, cast, hot formed and cold worked. Photo Credit: Ward Bastian

Every student has the opportunity to contribute to the ongoing history of our Craft, adding to the rich history of differing perspectives that have made our artistic identity great.  With scholarly options in every Province and Territory, we welcome you to explore all the schools of Craft through the Canadian Crafts Federation website.

By: Larissa Blokhuis

Every time I see Mitch Wren, I know I’ll hear a good trick for blowing glass, such as:

“What you do is tape a piece of chalk to a long screwdriver, and then when you’re making a jug, you put the screwdriver inside the opening and use it to pull out the spout, and then draw a chalk line up the back of the jug to mark where your handle should go.”

Title: Mitch Working Photo credit: Larissa Blokhuis Caption: Mitch demonstrates blowing while marvering

Mitch Wren was eight years old the first time he saw Dominick Labino working.  In addition to being credited (with several others) for beginning the studio glass movement in North America, Labino was a longtime family friend of Wren’s grandmother.  At eight, Wren was too young to begin blowing glass, but nonetheless, this was the beginning of Wren’s life as a glassblower.  Labino gave Wren a glass bird, which Wren has kept to this day.

In grade 12, Wren’s school instructed students to find work experience in the field they wished to enter.  Wren knew he wanted to blow glass, and the school put him in contact with David New-Small, of New-Small and Sterling Studio on Granville Island.  Wren began an apprenticeship with New-Small at age 17.

Since then, Wren has taken many courses at Red Deer, from Jeff Holmwood, Darren Petersen, Fritz Dreisbach, Randy Walker, Karen Willenbrink Johnsen, and several others.  He has also served as tech at Red Deer, and teaches classes at Robert Held’s and at New-Small and Sterling.

TIP #2: “For a poor man’s reticello, coat the glass in powder and go into an optic mould.  Twist the end of the glass and open the end.  Jack down the middle and flip the end over like a Swedish overlay.”

Wren works full-time as a production glassblower during the day, and will often work a second shift assisting other glassblowers or in another production shop.  After a double shift of glassblowing, Wren will often spend his evenings watching videos of glassblowing.  He owns an extensive collection of glassblowing videos, and has found two very good YouTube channels (listed below).  Wren works an estimated 50-60 hours per week blowing glass, and has built a solid reputation as one of Vancouver’s hardest working glassblower.

Wren will work for anyone.  In his years as a glassblower, he has assisted David New-Small, Robert Held, Ted Jolda, Cheryl Hamilton of i.e. Creative, Jay Macdonell, Naoko Takenouchi, Jeff Holmwood, Joanne Andrighetti, and many others.  He is assisted in his own work by his partner, Liz Curry.  Wren says Curry has been a positive influence on him creatively, with Curry designing and Wren fabricating.

TIP #3: “You want to use original heat as much as possible.  Once you start having to re-heat, it takes forever to get that malleability back.  I use the double gather technique.  You blow a big bubble, marver once, then let the glass sag back, marver again, blow the bubble round, and let it cool until there’s only a red glow in pipe.  Gather again and hold the glass up until it sags back onto the moil.  Sit at the bench and hang the glass down, block for two spins, and blow your bubble out completely.  The goal is to create your full shape, jacked and a flattened bottom, in that heat.  This teaches you to do an even gather, even bubble, and even turning.”

Curry has also encouraged Wren to travel, and so he’s been to London and Paris, where he took in the sights of the Tate Modern and the Louvre.  Wren says that any time he travels, he tries to do some glass study relevant to the destination.  In Paris he looked up and met Patrick Crespin, graal master.

For new glassblowers Wren advises a minimum of three years of production work.  As he always says “Repetition is the only way to improve.”  You must remember your own vision, but making someone else’s design, whether large or small, thick or thin, will help you make your own work better.  Three years of production will help you if your goal is to own your own hotshop.  Don’t pass up on an opportunity to improve your technique and your understanding of the material.

Title: Goblets Photo credit: Larissa Blokhuis Caption: A small sample of the goblets Mitch makes.

Wren shows his work locally in galleries and curated shows.  Wren believes it is important to show your work.  A craft fair will make you some quick cash, but galleries will put your name out.

TIP #4: Wren’s last piece of advice for glassblowers: “Everything you need to know is right in front of you.  The glass tells you what you need to know, it’s just whether or not you’re listening.”

http://www.youtube.com/user/Ramanglass544

http://www.youtube.com/user/bransfieldglass

http://www.cmog.org/glassmaking/demos

Larissa Blokhuis attended ACAD and graduated with a major in glassblowing in 2008.  She currently works at New-Small and Sterling, where she blows glass weekly.  Larissa has also attended Red Deer College in 2007 and Pilchuck in 2011.  She looks forward to developing further as a glassblower and gaining more exhibition experience.  blokhuisglass.weebly.com

Sheridan Graduates of 2012

By: Kurt Fisher

It was a big year for the 2012 Sheridan College glass graduates. Not only did we start the year with a new furnace, but we were also tasked, along with our peers in first- and second-year, to design and construct a massive installation at Sheridan’s new Hazel McCallion Campus in Mississauga.

It was only a matter of days into school when we began cutting and etching thousands of borosilicate glass tubes. The job seemed never ending, but late in November we began to see the light at the end of the tunnel. Over the course of three days, working night and day, we managed to get it hung. On November 30, 2011, Sheridan opened its new campus with a gala event at which we finally laid eyes on what we had been working so hard to complete. It was an amazing sight, 2,000 glass tubes suspended in the air seemingly weightless and filled with a subtle glow of colour. We were all very proud; it made all the hard work, late nights, and late assignments worthwhile. It was a great opportunity. Thanks, Sheridan.

This year we had a number of talented artists visit, the first of which was Joseph Cavalieri, who travelled from New York to teach us how to work with glass enamels. Over the course of a few days, Joseph held a workshop and taught us to cut sheet glass, paint with enamels, fire, and assemble our work. It was a great workshop that ended with Joseph giving us a lecture on his history in the medium and his current body of work.

Next, Tara Marsh and David Thai gave an excellent demonstration in the hot shop, where they hot-sculpted large blown fish, onto which they hot-assembled blown cups, platters and feet. It was a good demo that inadvertently taught us how to take advantage and work seamlessly with our partner.

Other notable guests included: Jin Won Han (flameworking), and Mark Raynes Roberts (engraving), and Jay Macdonell, who stopped in on his way home from Boston. [Editor’s note: Read Jade Usackas’ article in this issue of Contemporary Canadian Glass magazine for more details about Jay’s visit to Sheridan.]

Late in second semester, we were involved in the planning and execution of two gallery shows, the first “Here and There” was held at two side-by-side locations: the Ontario Crafts Council and Propeller in Toronto, Ontario. The show included all graduates from the Craft and Design Program (glass, ceramics, textiles, furniture). The second show was titled “Tempered” and was held at Studio Huddle on the edge of Liberty Village in Toronto.

The time we spent at Sheridan seemed to pass in the blink of an eye. Three years gone and we couldn’t have asked for more. With all of the hard work and long hours we put in, it’s hard to imagine a life less busy, a life without our peers at our side and the creative environment grooming us for the journey ahead. We learned a lot and had a lot of fun while doing it. I can speak for my classmates when I say thanks; it’s been blast!

An overview of 2012 Sheridan graduates:

Sheridan Graduates 2012.jpeg Jade Usackas / Cursive C in Cameo / Blown and Sand Carved Glassblowing / 20cm x 20cm x 35cm / 2012 / Photo credit: Jade Usackas

Jade Usackas was born in Orillia, Ontario. She is a conceptual artist and maker whose work is both functional and sculptural and explores issues of nostalgia and social relationships. Growing up in two different homes made her aware of contextual contrasts and their meanings. This guiding inspiration for her work expresses her sensitivity to disparate experiences. Jade’s process arises from interrogations of her lived experience. From there, she begins to conceptualize and eventually forms a methodology for fabricating a finished object.

The objects Jade makes are often a commentary on nostalgia and social relationships. In doing so, she tries to instil a sense of irreverence and satire into each series. When she began working with glass, she found that she was able to translate her ideas into tangible objects in a way that she couldn’t with other traditional media. The medium allows her to use her work as a platform for expression and questioning through narrative. The anecdotal quality of many of Jade’s pieces arises from personal histories.

“I think that personal investigation and reflection is an important tool for relating to the world and living in it,” she says. Jade’s work, therefore, often involves imagery and symbols relating to people, things or ideas that she value’s. Its her hope that those who experience her work will gain the opportunity for their own introspection, questioning and discussion.

Sheridan Graduates 2012.jpeg Megan Smith / Between Two Cities / Fused and Etched Sheet Glass / 182cm x 121cm / 2012 / Photo credit: Megan Smith

Megan Smith was born and raised in Seattle, Washington. She began working with glass by enrolling in workshops and taking courses at Pilchuck. In 2009, Megan decided she was ready to immerse herself fully in an artistic exploration of glass and enrolled in the three-year glass program at Sheridan.

Megan is drawn to the detail and emotion of imagery, but more specifically, she’s interested in highlighting the correlation between the fragility of glass and the impermanence of a photograph. While attending Sheridan, she was recognized with The Pottery Supply House Award, the Silent Night Award and a residency at Harbourfront Centre; as well as participated in numerous exhibitions and charity donations. She will be a teaching assistant for the upcoming year.

Sheridan Graduates 2012.jpeg Alex Wilson / Circular Duo / Blown and Sand Carved Glass / 25cm x 10cm / 2012 / Photo credit: Alex Wilson

Alex Wilson is from Brampton, Ontario. She is a mixed media artist working primarily with glass, pen, and ink. Alex spends a lot of time drawing and playing with materials to create free-standing sculpture and wall pieces, gaining inspiration from everywhere she goes and every person she interacts with.

Alex has assisted residents at the Living Arts Centre in Mississauga, Ontario and has been commissioned for works by Ana Teran Interiors in Toronto. She has a strong interest in pattern and design from oriental/tribal cultures, pop art, psychedelic imagery, line drawings, optical illusions and is somewhat obsessed with negative space. Her work shows interest in line, space and movement, with a particular focus on small detail within larger aesthetic. Glass is something that lets Alex live in the moment, 100 per cent focused on just one thing instead of the world around her. “It is both soothing and exhilarating to be in control of such a demanding yet rewarding material,” she says.

Sheridan Graduates 2012.jpeg Kurt Fisher / Sitting Table / Steel, Cast Glass / 155cm x 48cm x 33cm / 2012 / Photo credit: Kurt Fisher

Kurt Fisher is a glass artist and designer from London, Ontario. He was introduced to the world of glass after attending a stained glass workshop in 2000. He became interested in the medium, and the hands-on aspect of the craft. After re-enrolling several times in the workshop, he sought out other classes and workshops, which led him to warm glass and eventually to flameworking.

Kurt apprenticed under flameworking artist Dave Eakins in 2001. Since then, Kurt has owned and operated two flameworking studios and managed the Canadian branch production facility of American-based P&M Twisted Inc. Kurt’s desire to learn led him to enrol in the Sheridan College glass program where he further developed a personnel aesthetic and broadened his technical abilities, with a primary focus on functional design. He has also participated in numerous shows and exhibitions, including: Controlled Burn, at the Ontario Crafts Council Gallery; Tempered at Studio Huddle; and was featured at the 2012 Toronto Interior Design Show.

As a maker, Kurt looks for inspiration in everything he sees – from the harsh line and muted colour of urban centres to the soft flowing line and rich colour found in nature. Subtle undulations, deep pitting, and heavy texture play an important role in his work. “Texture draws the eye in and tempts the viewer. It can tell a story of drama or love, and act as a reminder of a time long past. Those are the reasons I’m drawn to texture and take inspiration from it,” says Kurt.

Sheridan Graduates 2012.jpeg Rob Fierz / Untitled / Hot Sculpted hard and soft glass / 35cm x 8cm / 2012 / Photo credit: Rob Fierz

Rob Fierz is from Vancouver, British Columbia, and now calls Hamilton, Ontario home. He has always had a passion for the arts, and is continually inspired from the natural world around him.

Upon moving to Ontario, Rob found his way to Sheridan College where he discovered the glass program, first enrolling in the continuing education program for flameworking. Rob soon after decided to pursue glass further and enrolled in the full-time program.

Rob works primarily with solid glass, finding that the calming stability speaks to him most and alloww him to focus on smaller details. Currently, his main interest is working with paperweights mimicking natural forms he’s always found interesting.  Rob’s work involves delicate inclusions, mainly in a floral form. He creates organic forms that will never change colour, decay, or die. He is compelled to create a world that fits in your hands. “I enjoy using different optic effects to my advantage, such as windows and lenses to direct the eye into the work, getting up close and personal allowing connections to transpire,” he says.

Sheridan Graduates 2012.jpeg AN / War Games / Kiln Cast Crystal / 5cm x 3cm x 1.5cm each / 2012 / Photo credit: AN

AN has been involved in the arts since a young age. A native of Montreal, she grew up in Toronto. In 2008, she graduated from the glassblowing program at Fleming College, followed by a summer residency at Artech Studios; she later worked for a number of Canadian glass artists, and in 2009 returned to Fleming College as a Teacher’s Assistant.  In the fall of that year, she began her studies in glass at Sheridan College, where she was honoured with multiple awards in recognition of her accomplishments, including a residency at Harbourfront Center.

She makes work that is sculptural, functional; she has experimented with installation work, something that she will continue to explore further. Her primary focus is glassblowing and kiln casting. AN makes work based on themes of childhood and the loss of innocence, and she is also very interested in how people are defined, and how they define themselves. In some of her work, she uses archetypal and iconic imagery, whether she is sculpting highly detailed objects and animals for castings or images that are applied through various techniques to her blown work. Driven to inspire and engage, AN strives to make thoughtful work that focuses on innovation and material quality.

Kurt Fisher is a recent graduate of Sheridan College. Read more about him, above, in this article.

Diplômés 2012 de Sheridan College

Par : Kurt Fisher

Grosse année pour les diplômés en verre 2012 du Sheridan College. Non seulement nous avons commencé fort l’année avec un nouveau four, mais en plus, nous avons été réquisitionnés avec nos camarades de 1^ere et de 2^ème année pour  concevoir et réaliser une énorme installation pour le nouveau campus Hazel MacCallion de Sheridan dans le Mississauga.

A peine rentrés que nous étions déjà en train de découper et de graver des tubes de verre de borosilicate par milliers. La tâche paraissait sans fin, mais fin novembre nous avons commencé à entrevoir la lumière au bout du tunnel. Après trois jours à travailler nuit et jour, nous avons réussi à suspendre l’installation. Le 30 novembre 2011, le collège Sheridan inaugura son nouveau campus avec un gala d’ouverture au cours duquel on put enfin contempler ce pourquoi nous avions travaillé si dur pour être dans les temps. C’était fabuleux à voir, 2000 tubes de verre aux airs aériens suspendus dans le vide et dégageant un subtil halo de couleur. Nous étions tous très fiers; tout ce travail, ces longues soirées et ces devoirs rendus en retard en valaient la peine. C’était une occasion géniale. Merci, Sheridan.

Durant cette année, nombre d’artistes talentueux sont venus nous rendre visite. Le premier étant Joseph Cavalieri, venu de New York pour nous enseigner l’art des émaux. Pendant plusieurs jours, Joseph a tenu un atelier et nous a appris à couper le verre, peindre avec des émaux, chauffer et assembler nos pièces. C’était un atelier super qui s’est achevé avec un cours de Joseph nous parlant de son histoire avec ce matériau et de son œuvre globale.

Ensuite, Tara Marsh et David Thai nous ont fait une excellente démonstration dans l’atelier de soufflage, où ils ont sculpté à chaud un grand poisson soufflé auquel ils ont ajouté tasses soufflées, plateaux et pieds. Cette démonstration remarquable nous a permis de comprendre l’intérêt de parvenir à travailler de façon harmonieuse avec son partenaire.

Les autres invités notoires furent Jin Won Han (travail au chalumeau), Mark Raynes Roberts (gravure), et Jay Macdonell qui fit un détour en revenant de Boston (note de l’éditeur : lire l’article de Jade Usackas dans ce numéro de Contemporary Canadian Glass pour en savoir d’avantage sur la visite de Jay à Sheridan).

Un peu plus tard au cours du 2^ème semestre, nous avons participé à la planification et à l’organisation de deux expositions dans des galeries d’art. La première « Here and There » (Ici et là) prit place dans deux bâtiments voisins : le Centre d’artisanat de l’Ontario et Propeller à Toronto en Ontario. Tous les diplômés du Programme des métiers d’art et de Design (verre, céramique, textiles, meubles) y exposaient. La seconde s’intitulait « Tempered » et a eu lieu à L’atelier Huddle, près de Liberty Village à Toronto.

Nous n’avons pas vu le temps passer à Sheridan. Trois années sur place et on en redemanderait encore. Vu tous les efforts et le temps qu’on y a mis, difficile de s’imaginer une vie moins animée, une vie sans nos pairs autour de nous et sans cet environnement créatif qui nous a préparé à la suite. Nous avons beaucoup appris et nous y avons pris du plaisir. Au nom de mes camarades et de moi-même, je peux dire « merci, ça a été du tonnerre » !

Présentation des diplômés 2012 de Sheridan :

Jade Usackas / Cursive C in Cameo / Verre soufflé et gravé au jet de sable / 20 cm x 20 cm x 35 cm / 2012 / Crédit photo : Jade Usackas

Jade Usackas est née à Orillia en Ontario. Artiste et créatrice conceptuelle, elle explore les problématiques de la nostalgie et des relations sociales avec des œuvres à la fois fonctionnelles et sculpturales. Le fait de grandir dans deux endroits différents l’a rendue plus sensible aux contrastes contextuels et à leur signification. Cette inspiration exprime au travers de son travail son ouverture à des vies disparates. Le raisonnement de Jade provient de ses interrogations sur son vécu. Elle les conceptualise ensuite et parvient à trouver un procédé pour obtenir un objet fini.

Les objets réalisés par Jade sont souvent le fruit d’une réflexion sur la nostalgie et les relations sociales. Ce faisant, elle tente d’inculquer une notion d’irrévérence et de satire dans chaque série d’œuvres. Lorsqu’elle a commencé à travailler le verre, elle a découvert qu’elle était capable de traduire ses idées en objets tangibles, ce qui lui semblait impossible avec d’autres techniques traditionnelles. Le matériau lui permet d’utiliser son travail comme support pour s’exprimer et poser des questions à travers un récit. La qualité anecdotique de beaucoup de ses œuvres est issue d’histoires personnelles.

« Je pense que la réflexion et la recherche de soi sont des approches importantes pour établir un rapport avec le monde et y vivre », dit-elle. C’est pourquoi le travail de Jade implique souvent images et symboles en rapport aux personnes, aux choses ou aux idées qu’elle valorise. Elle espère que ceux qui verront son travail sauront saisir l’occasion pour réaliser leur propre introspection, leur questionnement et leur autocritique.

Megan Smith / Entre deux villes / Gravure et thermoformage sur plaque de verre / 182 cm x 121 cm / 2012 / Crédit photo : Megan Smith

Megan Smith est née et a grandi à Seattle, Washington. Elle débuta dans le verre grâce à des ateliers ainsi que des cours à Pilchuck. En 2009, Megan décida de s’immerger complètement dans l’exploration artistique du verre et s’engagea dans un programme de 3 ans à Sheridan.

Attirée par le détail et l’émotion suscitée par l’imagerie, Megan s’intéresse plus spécifiquement à la mise en valeur de la corrélation entre la fragilité du verre et le caractère éphémère d’une photographie. Durant son parcours à Sheridan, elle a reçu le prix de The Pottery Supply House, le prix de Silent Night et une formation au  Centre Harbourfront . Elle a aussi participé activement à de nombreuses expositions et œuvres de charité. Elle sera assistante d’un professeur durant l’année à venir.

Alex Wilson / Duo circulaire / Verre soufflé et gravé au jet de sable / 25 cm x 10 cm / 2012 / Crédit photo : Alex Wilson

Alex Wilson est originaire de Brampton en Ontario. Elle utilise divers matériaux pour ses œuvres, dont principalement le verre, le crayon et l’encre. Alex passe beaucoup de temps à dessiner et à jouer avec les matériaux pour créer des sculptures sur pied et des œuvres murales. Elle puise son inspiration partout où elle se rend et en chaque personne avec qui elle échange.

Alex a assisté des artistes en résidence du Centre des Arts Vivants à Mississauga en Ontario et a été mandatée pour des œuvres d’Ana Teran Interiors à Toronto. Elle éprouve un vif intérêt pour les motifs et le design des cultures orientales/tribales, le pop art, l’imagerie psychédélique, les dessins au trait, les illusions d’optique et elle est quelque peu obsédée par l’espace négatif. Son travail démontre un intérêt pour les lignes, l’espace et le mouvement, avec un attrait particulier pour les petits détails au sein d’une esthétique plus grande. Le verre lui permet de vivre au moment présent, 100 % concentrée sur un seul point en faisant abstraction du monde qui l’entoure. « C’est à la fois apaisant et euphorisant d’arriver à maîtriser un matériau si exigeant et si gratifiant en même temps » dit-elle.

Kurt Fisher / Table assise/ Acier et pâte de verre / 155 cm x 48 cm x 33 cm / 2012 / Crédit photo : Kurt Fisher

Kurt Fisher est un artiste et designer verrier qui nous vient de London en Ontario. Après avoir assisté à un atelier sur les vitraux en 2000, il s’intéressa de plus près au verre et à l’aspect « main à la pâte » de cet art. Il se réinscrivit plusieurs fois à l’atelier, puis rechercha d’autres cours et ateliers, ce qui l’amena au travail du verre à chaud, et pour finir au chalumeau.

Kurt fut apprenti au chalumeau aux côtés de l’artiste Dave Eakins en 2001. Depuis, il a acquis et dirigé deux ateliers de chalumeau, et a de même géré la branche de production canadienne de l’entreprise américaine P&M Twisted Inc. Sa soif d’apprendre l’a poussé à intégrer le programme verre du Collège Sheridan, où il a pu développer une esthétique personnelle et élargir son champ de capacités techniques, mettant l’accent sur le design fonctionnel. Il a aussi participé à de nombreux salons et expositions, dont « Controlled Burn » à la Galerie du Centre de l’artisanat d’Ontario; « Tempered » à l’atelier Huddle; et a été représenté au Salon du Design Intérieur de Toronto 2012.

En tant que concepteur, Kurt puise son inspiration dans tout ce qu’il voit, des lignes abruptes et des couleurs passées des centres villes aux lignes douces et ondulantes et aux couleurs vives qu’on retrouve dans la nature. Les ondulations subtiles, mêlées à de fortes rugosités et une texture riche jouent un rôle important dans son travail. « La texture attire l’œil et tente l’observateur. Il peut s’agir d’amour ou de tragédie et faire revenir les souvenirs d’un passé lointain. C’est pour cela que je suis attiré par la texture et que je m’en inspire », dit Kurt.

Rob Fierz / Sans titre / Verre sculpté à chaud / 35 cm x 8 cm / 2012 / Crédit photo : Rob Fierz

Rob Fierz est originaire de Vancouver en Colombie Britannique et se considère maintenant chez lui à Hamilton en Ontario. Il a toujours été passionné d’arts et s’inspire continuellement du monde naturel autour de lui. Dès son arrivée en Ontario, Rob a découvert le Collège Sheridan et son programme sur le verre. Il s’est inscrit en premier lieu à la formation continue pour travailler le chalumeau, puis a décidé peu de temps après d’approfondir le verre en intégrant le programme à plein temps.

Rob travaille principalement avec du verre solide, trouvant que le calme stable lui parle mieux et lui permet de se concentrer sur des détails plus précis. Présentement, il s’intéresse tout particulièrement à la réalisation de presse-papiers imitant des formes naturelles. Le travail de Rob implique des inclusions délicates, principalement de type florales. Il crée des formes organiques qui ne changeront jamais de couleur, ni ne se décomposeront pas, ni ne mourront. Il aspire à créer un monde qui tienne dans vos mains. « J’aime mettre en avant différents effets d’optique tels que des fenêtres ou des loupes pour arriver à attirer le regard sur l’œuvre, s’approcher au plus près et se laisser emporter » dit-il.

AN / Jeux de guerre / Pâte de cristal / 5 cm x 3 cm x 1.5 cm chacun / 2012 / Crédit photo : AN

AN s’est intéressée aux arts depuis toute jeune. Née à Montréal, elle a grandi à Toronto. En 2008, est obtient son diplôme de verre soufflé du Collège Fleming, suivi d’un séminaire aux ateliers Artech; elle a travaillé par la suite pour plusieurs artistes verriers canadiens et est retournée au Collège Fleming en 2009 pour assister un professeur, où elle fut récompensée par plusieurs prix, dont un séminaire au Centre Harbourfront, en reconnaissance de ses performances.

Créatrice d’œuvres sculpturales et fonctionnelles, elle a découvert dans l’art des installations quelque chose qu’elle souhaiterait continuer approfondir. Ses centres d’intérêts principaux sont le soufflage et la pâte de verre. AN crée des œuvres basées sur les thèmes de son enfance et de la perte de l’innocence. Elle s’intéresse aussi beaucoup à la description des personnes et à la façon dont elles se décrivent elles-mêmes. Dans certaines de ses œuvres, elle utilise l’imagerie des archétypes et iconique, que ce soit en sculptant des objets ou des animaux très précis pour faire des moules ou en appliquant des images à son soufflage grâce à diverses techniques. Déterminée à inspirer et à susciter, AN s’efforce de faire des œuvres réfléchies, axées sur l’innovation et la qualité du matériau.

Kurt Fisher vient d’obtenir son diplôme au Collège Sheridan. Découvrez-en plus sur lui dans cet article.

By: Larissa Blokhuis

In Vancouver, this year has started off with a bang for the glass community.  On January 5, 2012, members of the glass community were invited to a launch party and meeting with Terminal City Glass Co-op. Holly Cruise, Joanne Andrighetti, Jeff Holmwood, and Morley Faber are at the helm of this new Co-op, located at 1191 Parker Street in the Mergatroid building in east Vancouver.

An interview with Holly Cruise, of Terminal City Glass Co-op in Vancouver:

Q: How did the Co-op come about?  Who approached whom?
A: Initially, Morley Faber invited the glass community to a meeting to discuss the prospect of building a Co-operative studio in Vancouver.  He had a bunch of equipment and was interested in hearing the level of interest in bringing glass back to the artist’s studio building that he owns and manages.  He’s also a real advocate for the Co-operative model.  About a year later, Morley and I got together to discuss his ideas and worked together on creating a framework for the Co-op.  Then we brought Joanne Andrighetti and Jeff Holmwood into the project.  And now Naoko Takenouchi is also working with us to develop the sandblasting studio and cold shop.  We also have almost 30 members so far

Q: What kinds of classes will be available and how does registration work?  What equipment will be available for Co-op members?
A: Right now we are offering beginner classes in glassblowing and flameworking, with some micro-coldworking classes and a sandblasting class coming up this summer.  We are still developing our education department, and we will be offering more advanced classes as we grow.  Approved Co-op members will have access to flameworking, hot shop, coldworking and sandblasting equipment.  All of our classes are on the website, and our schedule for the studio will be available for booking online soon.  We are also looking forward to partnering with educational institutions to offer courses as part of their arts education program.

Title: Boro Annealer Photo credit: Larissa Blokhuis Caption: Annealer for flameworking classes.

Q: What do you hope to personally achieve through the Co-op?
A: Our vision for the Co-op is to build a centre for glass arts, a place where amazing work is being made, and where students and the community can learn all about our fascinating medium.  I really look forward to the collaborative creativity and artistic growth that will happen in the Co-op.  I really feel like we are building a future for glass arts in Vancouver, and that is pretty special!

Q:  What type of influence do you want Co-op members to have on the glass / art community?

A: I hope the Co-op will help the glass community grow and become stronger and lead to a more considerable impact in the Vancouver arts landscape.

Q:  Describe some of the lucky events and goodwill that has been directed toward the Co-op.
A: From the beginning we have been super lucky.  When we first set out to set up the Co-op, we consulted with the British Columbia Co-operative Association and they gave us the gift of a Co-operative incorporation rules writer, Melanie Conn.  People in the glass community have been incredibly generous including Bocci, who generously donated the materials for our furnace, which was a huge expense.  Also, Nortel Mfg. donated six torches to our flameworking shop.  And really, we have Morley to thank for about $40,000 worth of equipment.  There’s way too much goodwill to list here and it’s really made us all feel great about the project.  So far, the studio has been built almost entirely on volunteer hours.  People are really committed to seeing the Co-op built and operational.  I can’t even begin to list everyone who has helped, but their help has been instrumental to the progress we have made.

Q: Talk about the history of the neighbourhood where the studio is located.  It’s a great place to connect with artists working in different mediums.
A: Strathcona is a really amazing neighbourhood, and of course we are at the epicentre of the Eastside Culture Crawl, a yearly event that brings thousands of people into the neighbourhood for an artist’s open house weekend.  This neighbourhood is filled with artists, and our building houses a wood Co-op and a ceramics Co-op, both built by Morley, as well as textile artists, painters, weavers, ceramicists, a youth Co-op, a specialty artist’s paint manufacturer and more.

Q: What do you want people to know about the Co-op?

A: Being part of a Co-op is owning a small part of the business, so all of our members own shares in the company.  As well, we are a non-profit Co-op, so all of our profit goes right back into the studio, whether this means we buy new equipment, or reduce the rental rates.  It’s really a great model for a business where we want to share a resource.

Q: If someone is interested in donating, what is the procedure?

A: Call us!  Email us!  Look at the wish list on our website.

Some brief information about our founding members:

Holly Cruise has been working with glass since 1995.  She first apprenticed at UrbanGlass in New York.  After two years, she re-located to New Orleans, Louisiana, to work in production.  Her last move in 1999 brought her to Vancouver, where she has been actively involved in the community through the BCGAA and various other organisations.

Joanne Andrighetti is a well-established name in BC glass.  She has owned her own glassblowing studio, and her flameworking studio has been incorporated into the Co-op.  Joanne has extensive experience as a glass teacher and supply shop owner.  Her shop continues to run adjacent to the Co-op providing the same easy access to supplies that was enjoyed at her previous location.

Title: Boro Rods Photo credit: Larissa Blokhuis Caption: A portion of the supply available in Joanne’s shop.

Jeff Holmwood began his BFA in glassblowing in 1990, and has gone on to own his own studio.  Originally located in Edmonton, his shop has since moved to Vancouver to serve as the production studio for Bocci.  Jeff developed a community for his Edmonton studio by teaching others, and has taught extensively at various locations including ACAD, Red Deer, Pilchuck, and Penland.

Title: Hot shop Builder Photo credit: Larissa Blokhuis Caption: Jeff Holmwood mugs in front of the hot shop he is building.

Morley Faber is one of the few non-glassblowers among us, but his contribution to the Co-op has been vital.  He is part owner and building manager of the Mergatroid building.  Morley has assisted in the development of other successful Co-ops located in the Mergatroid.  He has donated several pieces of equipment kept in storage from the defunct Joe Blow studio.

Volunteers and new members have performed admirably, transforming the space into a fresh-looking studio in a short amount of time.  The glass community of Vancouver has united to create an open membership, non-profit studio; offering glassblowing, flameworking, coldworking, and sandblasting.  Flameworking classes began in May, followed by glassblowing classes in June.  If you’re in Vancouver, we invite you to come check us out!

Larissa Blokhuis attended ACAD and graduated with a major in glassblowing in 2008.  She currently works at New-Small and Sterling, where she blows glass weekly.  Larissa has also attended Red Deer College in 2007 and Pilchuck in 2011.  She looks forward to developing further as a glassblower and gaining more exhibition experience.  blokhuisglass.weebly.com.

Par: Nellie Demers

Depuis vingt-trois ans, Espace VERRE, en collaboration avec le cégep du Vieux Montréal, offre une formation collégiale afin de développer les arts verriers du Québec. Grâce à l’encadrement et au dévouement d’artistes verriers professionnels réputés, les étudiants bénéficient d’un environnement propice à l’apprentissage des diverses techniques en verre. Espace VERRE est reconnue pour le génie et l’imagination de sa relève, mais aussi pour son esprit de camaraderie qui y règne. Entre les fous rires, les découragements et les réussites, toutes les gammes d’émotions sont vécues par les étudiants qui séjournent dans les locaux de l’ancienne caserne 21.

06 Les finissants : (de gauche à droite) 1ère rangée : Catherine Houde, Mélissa Jeanson, Jonathan Mélançon, Ashley Ouimet, Karelle Brunet, Mélodie Dulck. / 2e rangée : Caroline Couture, Ito Laïla Le François, Chloé Charette, Jessyca Plante, Lisanne Lachance. / Crédits : Espace VERRE.

Cette année, les onze finissants de la 21^e cohorte d’Espace VERRE présentent leurs pièces uniques dans le cadre de l’exposition Pulsion. De par son titre, l’exposition Pulsion évoque ce qui a poussé les diplômés à créer des pièces en verre, soit une excitation d’origine interne qui, transformée en énergie créatrice, se métamorphose en travail de la forme, en œuvre d’art. Voici un résumé des inspirations de chaque étudiant :

Façonner le verre, le graver, le souffler : Caroline Couture croit que toutes ces techniques sont bonnes pour transmettre ce qui la touche. Passionnée par ce médium, mais attristée de l’empreinte écologique qu’il laisse, elle s’efforce de trouver un compromis entre l’expression personnelle et l’adoption de méthodes de travail éthiques, entre autre par le recyclage de verre industriel.

Le verre, la nature et la vie sont intimement liés dans la tête de Jessyca Plante. Elle adore le verre pour sa luminosité et sa complexité. Son travail parle de la nativité, de la naissance de quelque chose d’improbable. Inspirée par la nature qui l’émerveille lorsqu’elle s’épanouit, elle crée des éléments miniatures en verre liés les uns aux autres.

Caroline Couture, La champignonnière, 241 x 238 x 622 cm./Crédits : Michel Dubreuil. Jessyca Plante, Vie Germée, 2012, 75 x 15 x 10 cm. /Crédits : Michel Dubreuil.

À la fois sculpteure et verrier, Ito Laïla Le François combine ces pratiques pour créer des sculptures anatomiques de grandeur réelle et se questionne sur la beauté et l’absurdité humaine. Composées de multiples matériaux dont le verre, le bouleau, le pin, la broche et la fourrure, ses œuvres semblent sortir d’un songe duquel émane une poésie et un questionnement sur la beauté ainsi que l’absurdité humaine.

La métamorphose et l’évolution s’insèrent au cœur de la démarche artistique d’Ashley Ouimet. Ses œuvres en pâte de verre attestent du changement constant des existences : de la vie à la mort, en passant par la renaissance ou la transformation. Ouimet s’immobilise devant l’éphémère et reconnaît que tout est un éternel recommencement.

Ito Laïla Lefrançois, Elle s’est fait décarcasser en sortant du ventre de sa mère, 2012, 182 x 106 x 106 cm. /Crédits : Michel Dubreuil. Ashley Ouimet, Nothing Lasts Forever, 2011, 81 x 40 x 45 cm. /Crédits : Michel Dubreuil.

Afin de réconcilier l’enfant et l’adulte qui sommeillent en elle, Chloé Charette conçoit des poupées en pâte de verre et en cire perdue. Sorties des contes et légendes, des mythes et autres histoires,  ses œuvres abordent le temps et les cycles qui l’accompagne, mais aussi de la relation entre ces différents stades du corps et de l’esprit : de l’enfance à la vieillesse, de la vie à la mort, du rêve à la réalité.

Inspirée par l’eau, l’air, le feu et la terre, Karelle Brunet réunit ces éléments pour répondre à ses interrogations sur la métaphysique. Plusieurs de ces pièces s’intéressent au langage sensible des mains. D’ailleurs, elle privilégie l’utilisation de la pâte de verre puisque cette technique répond à son besoin de toucher à la matière pour prendre forme et donner naissance à des œuvres d’art à l’esthétique fragile et contemporaine.

Chloé Charrette, Gaïa, 2012, 30 x 15 x 15 cm. /Crédits : Michel Dubreuil. Karelle Brunet, Accepter avec les quatre éléments - Eau ou accepter la perte de contrôle, 2012, 25 x 22 x 25 cm. /Crédits : Michel Dubreuil

À chacun sa chacune, tel est l’objectif des pièces de verroterie de Jonathan Mélançon. Amoureux de l’orge et du houblon, il conçoit des verres au design épuré pouvant convenir à un large éventail de types de bières. Maniant le verre avec dextérité et précision, chaque pièce est soufflée dans le but de correspondre à une catégorie de boisson fermentée.

Caractérisées par des couleurs saturées, les œuvres de Catherine Houde sont empreintes de pureté et de gaieté. Une récurrence de courbes, de sillons et de lignes sinueuses crée une union entre ses pièces en pâte de verre qui évoluent au gré de ses humeurs. Ses souvenirs d’enfance passés sur les berges du fleuve Saint-Laurent ont laissé des traces d’éléments aquatiques sur ses œuvres, telles que des algues, des coraux et des épaves.

Jonathan Melançon, Prendre un verre, 2012, de 16,8 x 11,3 x 12cm à 26,3 x 6,5 x 8cm. /Crédits : Michel Dubreuil. Catherine Houde, Passions échouées, 2012, 30 x 30 x 20 cm. /Crédits : Michel Dubreuil.

Tout autant passionnée par le travail des métaux précieux et du verre, Mélissa Jeanson prend plaisir à combiner ces matières pour créer des bijoux ainsi que des pièces sculpturales. Lorsqu’elle conçoit ses projets, elle se laisse d’abord guider par le verre et tire profit de la malléabilité des métaux pour donner leur aspect final. Bien qu’inspirée par la nature humaine, c’est aussi à travers les thèmes du ciel et de la mer que ses œuvres prennent vie.

Dissimulant le verre sous des croûtes, de la fourrure, de la rouille, Mélodie Dulck nous entraîne dans son univers où règne la déception, la peur et le malaise. Ses sculptures nous racontent ses hantises et ses obsessions. Fabriquant des corps parfaits pour ensuite les châtier, les amputer et les dénaturer, elle se cache derrière ces corps de verre afin que nous ressentions pour un court instant la noirceur qui l’habite.

Mariant le cristal et l’étain, les pièces moulées de Lisanne Lachance révèlent des corps féminins où l’objet de désir, voire corrupteur, est exhibé sans inhibition ou caché jalousement. Représentant le cycle, le recommencement, le pouvoir et le devoir créateur des femmes, les incrustations de cristal symbolisent aussi la fragilité, la dualité de l’identité féminine et l’évolution dont elle a fait l’objet durant le siècle dernier. Ces pièces sont un hommage au souvenir du travail d’émancipation féminine.

Mélissa Jeanson, Complexité - Précieuse humanité, 2012, 19 x 23 x 11.5 cm. /Crédits : Michel Dubreuil. Mélodie Dulck, La première des Androgynes, 2012, 35 x 13 x 10 cm. /Crédits : Michel Dubreuil. Lisanne Lachance, Perplexe, 2012, 16 x 18 x 15 cm. /Crédits : Michel Dubreuil.

Pareillement aux années antérieures, les diplômés de la 21^e cohorte ont fait preuve d’audace et de créativité pour révéler le talent qu’ils recèlent. Qu’il soit soufflé, gravé, formé ou peint, les nouveaux diplômés révèlent la beauté du verre en concevant et en réalisant des œuvres uniques ou de petite série. François Houdé et Ronald Labelle, fondateurs d’Espace VERRE, peuvent être fiers de leur initiative.

Plusieurs diplômés ont déposé leur candidature pour l’atelier de transition Fusion, la bourse de la Caisse de la culture Desjardins et la bourse Houdé-Mendel. Peu importe les prix qu’ils recevront et l’avenue qu’ils emprunteront, les diplômés sont voués à un brillant avenir dans le domaine du verre.

Nellis Demers, responsable des communications et du marketing chez Espace VERRE.

______________

The accomplishments of Espace VERRE graduates of 2012

By : Nellie Demers

For 23 years, Espace VERRE has collaborated with the CEGEP du Vieux Montréal, to offer a college-level program, advancing the glass arts of Quebec. Thanks to the guidance and devotion of established glass artists, students have benefitted from a dynamic environment in which they learn glass techniques. Espace VERRE is known for the ingenuity and imagination of its emerging glass artists, as well as its tight knit community. It is a place where laughter, tears, successes and all the other emotions are shared within the four walls of the old fire station number 21.

Les finissants : (left to right) 1ère rangée : Catherine Houde, Mélissa Jeanson, Jonathan Mélançon, Ashley Ouimet, Karelle Brunet, Mélodie Dulck. / 2e rangée : Caroline Couture, Ito Laïla Le François, Chloé Charette, Jessyca Plante, Lisanne Lachance / Photo credit: Espace VERRE.

Espace VERRE’s 21st cohort of 11 graduates will present their works during the Pulsion (Impulse) exhibition; where they will evoke diverse internal excitations that were transformed into creative energy, formally metamorphosed into glass art pieces. Here are the descriptions of their individual impulses:

Whether sculpting, engraving or blowing glass, Caroline Couture believes that all glass techniques are equally pertinent to transmit her feelings. Passionate about the material, she is nonetheless saddened by its ecological impact, which forces her to find a compromise between self-expression and proper work ethics, particularly by recycling industrial glass.

Glass, nature and life are infinitely linked in Jessyca Plante’s mind. She loves working with glass for its luminescence and complexity. Her work is about nativity, stemming from the birth of something improbable. Inspired and awestruck by nature, she creates miniature interlinked glass elements.

Caroline Couture, La champignonnière, 241 x 238 x 622 cm / Photo credit: Michel Dubreuil. Jessyca Plante, Vie Germée, 2012, 75 x 15 x 10 cm / Photo credit: Michel Dubreuil

Ito Laïla Le François combines her experience with sculptural and glass art to create life-sized figurative sculptures composed of glass, birch, pine, wire and fur. Her sculptures, which seemingly emanate out of a poetic daydream, question beauty and human absurdity.

Metamorphosis and evolution are at the heart of Ashley Ouimet’s work process. Her pâte de verre pieces attest to the constant changes of existence: from life to death, passing through rebirth or transformation. She is stunned by the ephemeral and recognizes that all is eternally regenerating.

Ito Laïla Lefrançois, Elle s’est fait décarcasser en sortant du ventre de sa mère, 2012, 182 x 106 x 106 cm / Photo credit: Michel Dubreuil. Ashley Ouimet, Nothing Lasts Forever, 2011, 81 x 40 x 45 cm / Photo credit: Michel Dubreuil.

To reconcile the child and the adult within her, Chloé Charette creates pâte de verre and lost-wax dolls. Straight out of fairytales, legends, myths and other stories, her pieces speak of time and its cycles, as well as the relation between the different stages of the body and mind: from childhood to old age, life to death, dream to reality.

From her inspiration of the four elements: water, air, fire and earth, Karelle Brunet gathers many answers to her metaphysical questionings. Her pieces demonstrate her interest for the sublime language of the hands. Incidentally, she prefers the hands-on aspect of the pâte de verre technique, to create delicate, aesthetic and contemporary glass art works.

Chloé Charrette, Gaïa, 2012, 30 x 15 x 15 cm / Photo credit: Michel Dubreuil. Karelle Brunet, Accepter avec les quatre éléments - Eau ou accepter la perte de contrôle, 2012, 25 x 22 x 25 cm / Photo credit: Michel Dubreuil.

To each their own, and that applies exactly to Jonathan Mélançon’s glassware. A lover of barley and hops, he creates refined glasses designed for different types of beers. He manipulates glass with dexterity and precision, each piece is blown specifically for its distinctive fermented beverage.

Characterized by their saturated colors, Catherine Houde’s pieces are full of purity and joyfulness. Recurring curves, furrows and sinuous lines form a link between her pâte de verre pieces that take shape according to her emotions. It is as if her childhood memories spent on the St. Lawrence River banks have deposited aquatic elements, such as algae, corals and flotsams on her pieces.

Jonathan Melançon, Prendre un verre, 2012, de 16,8 x 11,3 x 12cm à 26,3 x 6,5 x 8cm. /Photo credit: Michel Dubreuil. Catherine Houde, Passions échouées, 2012, 30 x 30 x 20 cm / Photo credit: Michel Dubreuil.

Equally passionate about precious metal and glass, Mélissa Jeanson loves to combine these materials to create jewellery and sculptures. When she conceives her projects, she is first guided by the glass, which is followed by the malleability of metals to give her work its final look. It is through human nature, celestial and marine inspirations that her pieces come to life.

Concealing glass under layers of crusts, fur and rust, Mélodie Dulck pulls us into her world where deception, fear and uneasiness rule. Her sculptures explain her trepidations and obsessions. She creates perfect glass bodies that she chastises, amputates and distorts. It is as if she can transmit, through her sculptures, the darkness that she perceives.

Combining crystal and tin, Lisanne Lachance’s cast pieces reveal feminine forms where the object of desire, at times corruptive, is shown without inhibition or secretive jealousy. While representing the cycle, regeneration, empowerment and creative duties of women, the crystal incrustations symbolize the fragility and duality of the feminine identity, as well as the evolution that women went through in the past century. Her works are a homage and commemoration of the feminine emancipation.

Mélissa Jeanson, Complexité - Précieuse humanité, 2012, 19 x 23 x 11.5 cm / Photo credit: Michel Dubreuil. Mélodie Dulck, La première des Androgynes, 2012, 35 x 13 x 10 cm / Photo credit: Michel Dubreuil. Lisanne Lachance, Perplexe, 2012, 16 x 18 x 15 cm / Photo credit: Michel Dubreuil.

As in past years, the 21st cohort’s graduates of Espace VERRE showed audacity and creativity while revealing their inner talents. Whether by blowing, engraving, sculpting or painting, they brought out the beauty or their unique and production glass pieces. Francois Houdé’s succession and Ronald Labelle, Espace VERRE’s founders, have much to be proud of the diverse initiatives.

This year, a great number of graduates have applied for the Fusion transitional workshop, the Desjardins – Caisse de la culture bursary and the Houdé-Mendel bursary. Whatever the award they receive or the direction they take, these graduates are destined for brilliant and promising glass art futures.

Nellie Demers is responsible for communications and marketing at Espace VERRE, Montreal.

Compiled by: Christy Haldane

This article was inspired by a conversation with Celeste Scopelites, director of the Art Gallery of Peterborough. My daughter, Miller, was two and I was working on an outdoor installation for Artsweek in Peterborough. I was babbling about time, energy and getting the piece together.  She said to me, “You are learning how to be an artist all over again.” The comment stayed with me and I have thought about how my practice had changed since Miller was born.

I contacted other artists and asked for their stories. Their stories are inspiring; they are successfully balancing their careers while raising kids. They speak of exhaustion, sacrifice and the craziness of it all. Like Julie Gibb’s loan officer said, “People do have babies” and the stories below illustrate how to survive as a parent and artist.

Miller dancing on bubble pop

Jamie Gray:

I started out in glass before my children were born, 20 years ago now.  In the few years before they first arrived, glass art was a joyful pursuit.  After that, it was a salvation and happy escape from the drudgery that can be diapers and feeding schedules.  During the years when my daughters were youngest, (baby to teen) I would fit in art in snippets when and where I could.  The time I could spend always depended on what remained of my energy, since the needs of the children always necessarily had to come before my own needs, never mind my desires.  I also had to create a specific space in which the children couldn’t access because of the nature of glass (shards, slivers, powders, etc.), so that meant that I had a blocked-off corner of the basement, pretty much useless for anything else, designated as my workspace.

When I think of what it was like having small children around as I try to build a career as a glass artist, the one word that describes it all is “sacrifice”.  It was necessary to sacrifice money, energy and time, all of which had to be carefully meted out.  It was all worth it though, the scrimping, saving and planning so that I could buy glass for my next “fix”.  It was the joy of the game, making all the puzzle pieces fit  together.  And it’s something to be proud of because not everyone can manage it.  So my advice for artist moms who are walking this road:  make your work when you can but don’t ever sacrifice too much sleep, because if you do that will always come back to bite you.  Bide your time and make what you make as slowly as is needed at this time of your life.  It’s only a season, which passes quickly enough; a little too quickly.  Enjoy all aspects of your life as a young artist mom.

Jamie Gray is president of GAAC. She parents her two teenage daughters in Calgary, both of whom are getting pretty proficient at cutting glass, checking the kilns, and general fetching/carrying in the studio (the advantages of training them well!).

Jamie stopping and smelling the flowers

Julie Gibb:

My husband, Gordon Webster, and I have two children: Leo, soon-to-be four; and Robin, two.  We also have a hotshop, which is like having seven other children. Sometimes I think we would be good entertainment as a reality TV series!

Having children has certainly changed how I work.  I do what I can do in the time I have in each day and remind myself that I am a parent first.  It is definitely a balancing act!  I try to tackle things early in the event of a sick child and I try not to procrastinate, but sometimes I have to accept my procrastination as legitimate tired parent syndrome!

We try to stay connected, even with children; for example we took Leo to see Dante Marioni’s demo at ACAD when he was one; we took Robin to Seattle when she was six months old to visit museums and galleries and to buy supplies, and most recently we took both of them to Rachael Wong’s opening Flat Depth at Stride Gallery in Calgary.

Sometimes I think it is an impossible feat running a hotshop and having children, but then I think it must be difficult for most parents no matter what profession they find themselves in.  I am grateful to accept this challenge for the incredible reward of watching our children grow! Never a dull moment!

In the beginning stages of opening our studio, we were working with an organization called Community Futures. Our loan officer came to the shop one day and I remember saying to Gord, “She is not going to give us this loan because she is going to think we are crazy having a baby and starting a business”.  I made some offhand comment about it to her in an awkward nervous way and she said matter of factly, “well, you know, people do have babies”!

Julie in background with a sleeping baby Robin (3 months old) in a baby carrier while husband Gordon Webster blows glass, Photo credit: Shawn Ayrest

Laura Donefer:

When my daughter, Ana Matisse, was two, and I was 38, I went to Pilchuck to teach a beginner glass blowing class, and it was the very first time that I was apart from my daughter; three weeks away from her! It was truly a painful time, as I had no idea that my reaction would be so strong. Never again, I thought! The next time Pilchuck asked me to teach, Ana Matisse was six, and I said NO WAY! The result was that Pike Powers invited Ana to be the official “Child Artist in Residence”, and this was how Ana got to go to Pilchuck at least five times and to Penland once, Red Deer twice, Ausglass once, a few GAAC and GAS conferences and countless road trips to gallery openings.

Ana Matisse thrived hanging out with glass people; she got to sandcast, blow glass, dance on marvers, and have a marvelous time. She was a TA for Thermon Statom, did critiques for the De La Torre brothers, hung out a lot with Kiki Smith, got hugged by Judy Chicago, and even won a Pilchuck T-shirt contest with her drawing of James Mongrain with his hair burnt off.

She was born the night of my second glass fashion show, and she was on stage in her mirror costume during the third one, and was in others that followed. By osmosis, Ana Matisse learned to blow glass, and was my assistant colour bit bringer for years…..excellent heat!

For 16 years, Ana came with me to the Habatat International in Michigan, and we stayed with Ferd Hampson, his wife Kathy and their various kids. Ana grew up surrounded  by glass art, and artists, and even sold a very expensive piece to some collectors when she was eight. Ferd gave her a commission! ($5.00)

Ana was indispensable when I was working in my studio, giving me very sage advice, like “Mom, too much stuff on that piece!” or “I think you should place this feather HERE and not there!

Laura Donefer lives near Harrowsmith, Ontario, with Dave and her animals, works alone in her studio and reall,y really misses her daughter Ana Matisse, who is having a wonderful life at university in Halifax.  www.lauradonefer.com

Ana Matisse assisting Laura at Penland

Steven Tippin:

The first (and hardest) lesson that I learned in balancing my time as a new parent and glass artist is that my window of time to work has severely shrunk. Gone are the days where I could spend eight or more hours in the studio working; now I feel lucky to have a solid hour and a half of time. My wife is still home on maternity leave and has been great at giving me more time when big shows are approaching; once she goes back to work, my production time will really slow down. I have learned to be okay with that. My life has become more balanced overall and time in the studio has become more efficient.

I have also learned that I can trim time from areas that are not as important, in order to help prioritize my time in the studio and my time with my daughter, Grace. The biggest change, believe it or not, was moving out of Toronto. I realized that I do not need to work/live in Toronto in order to be a successful glass artist. Now, rather than spend an hour in my car driving down Bathurst to my shared studio in Toronto, I have my studio on-site in a detached workshop on our property. What a difference. My commute is now less than 20 steps. Even when living in Toronto, I would only go into the downtown core a few days out of the year to bring more work to galleries, go to openings, etc and I realized that I still can do that and live on the other side of Waterloo. When I do go to Toronto now, I have learned to be efficient and book multiple gallery meetings each time.

I have also learned that 3M does not make respirators small enough for a six-month-old baby, which is for the best as she is not tall enough to use my belt sander anyways. That is a joke, of course!

Steven Tippin is very new to parenthood and looks forward to reading the advice in this article (and any comments from other parents). He is currently the GAAC vice-president and a glass artist living just west of Waterloo, Ontario. www.steventippin.com

Tippin Family at the telephone booth gallery - Photo credit: Sharlene Rankin

Eva Milinkovic:

When my son, Max, was three months old we did two trade shows: one in Las Vegas and one in New York. The dates overlapped, so my husband Kris went to one and I went to the other in New York, bringing my mom with me to babysit. I was nursing, so we had bags and bags of breast milk stuffed in the hotel minibar. The kicker was that I had to leave the booth often to go and pump in the bathroom (have you really heard one of those electric pumpers? They are a little loud!), let’s just say I got more than a few looks and don’t even get me started on the leaking!

The week before my due date we did a trade show (Kris flew down to set up and we had help working the show). In my crazy pregnant brain I booked a flight back that was a day later than my due date; in a panic, the night before, I booked another flight so he would be back in 12 hours. What could go wrong in 12 hours? A few hours after he left, I started feeling weird but ignored it and made a sandwich, had some ice cream, and had a nap. A few hours after that, my water broke. I called Kris in a panic to fly back ASAP. He arrived in Chicago at night and couldn’t get the connecting flight (three non-refundable flights later). Our doula drove me to the hospital. I got there at 8 cm dilated (at 10 cm you start to push the baby out) and the doctors said for me to start pushing. (I thought: what do you mean push I just got here!!).  It was a pretty quick delivery to say the least and I did it by myself. Kris arrived a few hours after. Immediately after giving birth, in the labour room, I was emailing clients because we had a tight deadline on a project – does the work ever stop?!

Eva Milinkovic is creative director for Tsunami Glassworks and wrote this on the run! www.tsunamiglassworks.com

Eva and Max working a trade show

Kasia Czarnota:

I remember being so excited about the prospect of being on maternity leave. A whole year off from my day job! That, coupled with a baby who sleeps 20 hours a day (according to all those new parent books), my studio practice will soar! I’ll make lots of work and my soul will be refreshed!

Of course, things never work out the way you plan.  My gorgeous son never slept, or if he did it was in 20-minute spurts around the clock.  The free time I thought I’d have has been fleeting, and more often than not the few minutes I did get to myself were used for power naps; trying to combat complete exhaustion.  Becoming a parent was overwhelming, and as time passed I grew more and more despondent over not being able to make anything.

I have adjusted by learning to be very patient.  I spend more time contemplating the work I’ve been planning to make, turning it over in my head, making quick sketches on whatever is handy.  Sometimes this tortures me – thinking about making work does not produce anything tangible – but mostly I have found that this added time has been very beneficial.  Ideas that are strong have stayed with me over time, and ones that are not have dropped away.  The work is more developed.  I’ve been able to make adjustments to designs before starting to sculpt.  I now have a fully developed series of work to make with a cohesive theme and progression of design.

This focus has lead to a more efficient use of time when I do get the opportunity to sculpt.

Kasia Czarnota practices the art of parenthood and casting in Toronto, Ontario.

Kasia and Adam out on the town

Christy’s list of tips for new parents:

Find flexible daycare
The expense is frightening but it is hard to make your work when you have a baby. I had a fantasy that Miller would sleep or play in her crib while I worked; but that never happened. Miller goes to daycare twice a week and having 16 hours of studio time has made me very focused and productive. I am not sure what I did prior to having a baby, but I think I actually get more work done now. You can also include child care in grant proposal budgets.

Ignore your messy house

I once heard an interview with E. Annie Proulx, author of The Shipping News, she said “No one is going to remember me for doing the dishes.” My husband, Andrew, may think I took her advice a little too seriously, but she is right; leave the dishes and hit the studio.

Find a partner who likes to cook

The days of ending a long day at the studio with a can of tuna, a bag of microwave popcorn and a glass of red wine while reading a book are over. Artists may not always need a balanced diet but word on the street is that children do. Having a partner whose hobby is cooking is greatly appreciated.

Get a dog (not a puppy; puppies are a lot of work)
Lately the only time I feel like I have time to think is while walking our dogs. They force me to stop, get out of the house and mull over ideas.

It gets easier

The other day we were able to pour a concrete piece while Miller (now three and half) played with bubble wrap. Known to her as bubble pop, it is a magic toy that can provide hours of entertainment. She now understands that although I am home, I am working and she is learning to entertain herself. She is colouring and singing beside me as I write.

I was with my sister when she gave birth. The doctor told her to “push through the pain”. It has become my mantra. There are days when it feels impossible to keep everything on track but I push through the pain and keep going. Becoming this new person called, “Mom” sometimes still seems unbelievable. Now at the end of a long studio day I snuggle on the couch and watch an episode of Arthur with a freshly bathed kid and it is good

Conclusion: 

Every parent, artist or not, goes through adjustments when they become a parent. Learning how to parent and raise a child is not exclusive to artists, but I do think that the contributing artists, taking the time to submit for this article, demonstrate their dedication to parenthood and to their creative selves.  They show that with flexibility, perseverance and creativeness you can balance your needs with your families’. Include your child in your artistic life and you will both become richer from it.

Christy Haldane lives and works outside of Lakefield, Ontario. On May 13, 2012, she was able to put a piece together in her studio while her daughter, Miller, coloured. What a great Mother’s Day Present.

L’art d’être parent

Compilé par : Christy Haldane

Cet article est né d’une conversation avec Celeste Scopelites, directrice de la Galerie d’art de Peterborough. Ma fille Miller avait deux ans et je travaillais sur une installation extérieure pour Artsweek (Semaine de l’art) à Peterborough. Je papotais sur le temps et  l’énergie qu’il fallait pour installer la pièce. Elle me dit alors « Tu es en train de réapprendre à redevenir une artiste ». Le commentaire est resté dans ma tête et j’ai réfléchi à la façon dont mon activité avait changé depuis la naissance de Miller.

J’ai contacté d’autres artistes pour leur demander leurs points de vue. Leurs histoires m’ont inspiré ; ils ont réussi à trouver un équilibre entre leur carrière et l’éducation de leurs enfants. Ils me parlent d’épuisement, de sacrifices et d’un rythme de folie. Comme l’a si bien dit la responsable de prêts financiers de Julie Gibb, « C’est normal d’avoir des enfants » et les histoires ci-dessous nous montrent comment y survivre en tant que parent et artiste.

Miller dansant sur du papier bulle

Jamie Gray :

J’ai débuté dans le métier du verre avant la naissance de mes enfants, il y a maintenant 20 ans. Durant les premières années avant leur naissance, j’étais ravie de travailler le verre.  Après, cela devint plutôt un soulagement et un moyen enthousiaste de fuir les corvées que deviennent parfois les couches et les heures du biberon. Lorsque mes filles étaient plus jeunes (de bébés à adolescentes), je casais l’activité artistique par petits bouts, entre deux autres choses, quand c’était possible. Le temps que je pouvais y consacrer dépendait toujours de l’énergie qu’il me restait, vu que les besoins des enfants passaient forcément toujours avant les miens, et qu’importent mes envies. J’ai aussi dû créer un espace spécialement dédié au verre pour éviter que mes enfants ne puissent y avoir accès (à cause des échardes, de la poudre, des éclats, etc.), j’avais donc un coin de ma maison bloqué en espace de travail et inutilisable pour quoi que ce soit d’autre.

Quand je repense à ce que cela représente d’avoir des enfants en bas âge lorsqu’on essaie de construire une carrière d’artiste verrier, le mot qui me vient à l’esprit est « sacrifice ». Il faut sacrifier de l’argent, de l’énergie et du temps, et les répartir avec soin. Mais tout cela en valait la chandelle, se serrer la ceinture, mettre de côté et s’organiser pour acheter et avoir ma prochaine « dose » de verre. Le jeu était d’arriver à rejoindre toutes les pièces du puzzle. Et il y a de quoi en être fier car ce n’est pas donné à tout le monde. Alors mon conseil pour les mamans artistes qui sont dans la même situation : travaillez autant que vous le pouvez mais n’y sacrifiez jamais trop de sommeil car cela se retournera contre vous. Prenez du temps pour vous et réalisez vos œuvres aussi lentement que nécessaire à cette étape de la vie.  Ce n’est qu’une période, qui passe suffisamment vite, même un peu trop vite. Profitez de tous les aspects de votre vie de jeunes mamans artistes.

Jamie Gray est la présidente de la GAAC. Ses deux filles ados qu’elle élève à Calgary sont déjà douées pour couper le verre, vérifier les fours et apporter ou porter dans l’atelier (l’avantage de leur avoir bien montré !) www.glassartcanada.ca/public/artist/Jamie.Gray#portfolio

Jamie s’arrêtant un instant pour sentir les fleurs

Julie Gibb :

Mon mari Gordon Webster et moi avons deux enfants : Leo, bientôt 4 ans, et Robin, deux ans. Nous avons aussi une agence de publicité, ce qui revient à avoir au moins sept enfants supplémentaires. Parfois je me dis que nous pourrions passer facilement dans une émission de télé réalité !

Le fait d’avoir des enfants a bien sûr changé ma façon de travailler. Je fais chaque jour ce que je peux avec le temps que j’ai et je n’oublie pas que je suis maman avant tout. C’est très clairement un équilibre ! J’essaie de travailler tôt le matin lorsqu’un des enfants est malade et j’évite de trainer les pieds, même si je dois admettre que parfois la procrastination est un syndrome bien légitime pour les parents fatigués !

Même avec les enfants, nous essayons de rester connectés avec le milieu ; par exemple nous avons emmené Leo voir la démonstration de Dante Marioni à l’ACAD alors qu’il n’avait qu’un an ; à 6 mois nous avons emmené Robin à Seattle pour visiter des musées et des galeries et acheter du matériel. Plus récemment, les deux nous ont accompagnés au vernissage de Rachael Wong pour Flat Depth à la galerie Stride  de Calgary.

Parfois je me dis que c’est un sacré exploit que de parvenir à faire tourner une agence de pub tout en ayant des enfants. Mais finalement je me dis que ça doit être difficile pour la plupart des parents, quelle que soit leur profession. Je suis heureuse d’accepter ce challenge en échange de cette formidable récompense de pouvoir regarder nos enfants grandir ! On ne s’ennuie jamais !

Au début de l’ouverture de notre atelier, nous avons travaillé avec une organisation qui s’appelait Community Futures. La responsable des prêts financiers est venue nous rendre visite à l’agence un jour et je me rappelle avoir dit à Gord « Elle ne va jamais nous accorder de prêts parce qu’elle va croire qu’on est taré de vouloir monter une entreprise alors qu’on vient juste d’avoir un bébé ». J’ai fait quelques remarques désinvoltes d’une façon nerveuse et maladroite à ce propos, auxquelles elle s’est empressé de me répondre « Eh bien, vous savez, c’est normal d’avoir des enfants » !

Julie dans le fond avec bébé Robin (3 mois) endormi dans une poussette tandis que son mari Gordon Webster souffle du verre. Crédit photo : Shawn Ayrest

Laura Donefer :

Quand ma fille Ana Matisse était âgée de 2 ans et moi de 38 ans, je suis allée donner un cours pour débutants en soufflage de verre à Pilchuck . C’était la première fois que je me séparais de ma fille ; trois semaines sans elle ! Ça a été vraiment dur et j’ignorais que je le vivrais si difficilement. Je me suis dit « Plus jamais » !  Quand Pilchuck m’a redemandé de venir enseigner, Ana Matisse avait alors 6 ans, et j’ai répondu « Hors de question  » ! Pike Powers a alors invité Ana à devenir officiellement « l’artiste enfant de la formation », et voici comment Ana finit par venir à Pilchuck au moins 5 fois, à Penland une fois, à Red Deer deux fois, à Ausglass  une fois, ainsi qu’à quelques conférences de la GAAC et de la GAS,  sans compter les multiples voyages pour assister aux vernissages dans des galeries.

Ana Matisse adorait passer du temps avec les artistes verriers, on lui permettait de sabler, de souffler du verre, de danser sur les marbres et surtout de passer de bons moments. Elle a été tour à tour assistante pour Thermon Statom, critique pour les frères De La Torre, bonne copine avec Kiki Smith, câlinée par Judy Chicago et a même gagné un T-shirt de Pilchuck au concours avec son dessin de James Mongrain qui a les cheveux en feu.

Elle est née la nuit de mon deuxième défilé de mode en verre et elle était sur le podium dans un costume en miroirs dès le troisième, ainsi que dans d’autres après cela. Par osmose, Ana Matisse a appris à souffler le verre et a été mon assistante porteuse de frites de couleurs  pendant des années… Belle équipe !

Ana m’a accompagnée pendant 16 années au Habitat International  dans le Michigan et nous étions hébergées par Ferd Hampson, avec sa femme Kathy et ses enfants. Ana a grandi dans le monde du verre, des artistes, et a même vendu une œuvre de très grande valeur une fois à un collectionneur alors qu’elle avait 8 ans. Ferd lui donna donc une petite commission (5,00 $) !

Ana était indispensable quand je travaillais dans mon atelier, en me donnant de sages conseils comme « Maman, trop chargée cette pièce » ! ou « Je crois que tu devrais mettre cette plume ICI et non là »  !

Laura Donefer vit près de Harrowsmith en Ontario avec Dave et ses animaux. Elle travaille seule dans son atelier tandis que sa fille Ana Matisse poursuit ses études à l’Université de Halifax et lui manque beaucoup. www.lauradonefer.com

Ana Matisse assiste Laura à Penland

Steven Tippin :

En tant que nouveau parent et artiste verrier, la première chose (et la plus difficile) que j’ai découverte concernant  la répartition de mon temps de travail fut à quel point mon créneau avait rétréci. Finis les jours où je pouvais passer plus de 8 heures dans l’atelier ; maintenant je suis content quand je peux avoir une heure et demie entière. Ma femme est encore en congé maternité chez nous et elle est super ; elle m’a donné plus de temps quand les grosses expositions approchent ; quand elle reprendra le travail, mon rythme de production va vraiment ralentir. J’ai appris à l’accepter. Ma vie est devenue plus équilibrée en général et mon temps passé en atelier plus efficace.

J’ai aussi appris à restreindre mon temps dédié à certaines choses moins importantes pour donner priorité à mon temps en atelier et à ma fille Grace. Le plus gros changement, croyez-moi, a été de déménager de Toronto. Je me suis rendu compte que je n’avais pas besoin de vivre et de travailler à Toronto pour réussir en tant qu’artiste verrier. Maintenant, au lieu de passer une heure dans ma voiture pour me rendre à mon atelier partagé à Bathurst, j’ai mon propre atelier sur place dans un bâtiment à part sur notre terrain. Quel progrès. Mon trajet fait à présent moins de 20 pas. Même en habitant Toronto, je ne me rendais au centre-ville que quelques jours par année pour livrer des œuvres aux galeries, me rendre à des vernissages, etc. Et je me suis rendu compte qu’il était tout autant possible de le faire en vivant de l’autre côté de Waterloo. Lorsque je vais à Toronto à présent, j’arrive à être efficace et je m’arrange pour avoir plusieurs rendez-vous de galeries le même jour.

J’ai aussi découvert que 3M ne produisait pas de masque anti poussière assez petit pour un bébé de 6 mois, ce qui n’est pas plus mal vu qu’elle n’est de toute façon pas assez grande non plus pour utiliser ma ponceuse. Je plaisante évidemment !

Steven Tippin est un tout nouveau parent et se réjouit de pouvoir lire les conseils dans cet article (et tout autre commentaire venant de parents). Il est à l’heure actuelle vice-président de la GAAC et artiste verrier résidant à l’ouest de Waterloo en Ontario. www.steventippin.com

La famille Tippin à la Galerie Telephone Booth. Crédit photo : Sharlene Rankin

Eva Milinkovic:

Quand mon fils Max avait 3 mois, nous avons fait deux salons artisanaux : l’un à Las Vegas et l’autre à New York. Les dates se chevauchaient donc mon mari Kris s’est rendu à l’un et je suis allée à l’autre à New York avec ma mère qui se chargeait du gardiennage. Comme j’allaitais, nous avions rempli le minibar de l’hôtel de poches de lait maternel.  Le fin du fin était quand je devais quitter le stand de temps en temps pour aller pomper mon lait dans les toilettes (avez-vous déjà entendu ces fameuses pompes électriques ? Elles sont légèrement bruyantes !). Disons que j’ai eu droit à quelques regards et je ne vous parle même pas des montées de lait !

La semaine précédant mon accouchement, nous avons fait un salon (Kris y alla en avion pour installer et nous avions prévu de l’aide pour travailler au salon). Dans mon cerveau farfelu de femme enceinte, j’ai réservé son billet retour un jour après la date prévue de mon accouchement ; la nuit juste avant, je lui ai réservé en panique un nouveau vol pour qu’il soit de retour dans 12 heures. Qu’est-ce qui pouvait bien m’arriver en 12 heures ? Quelques heures après son départ, j’ai commencé à me sentir bizarre mais je n’y ai pas prêté attention et je me suis fait un sandwich, j’ai mangé une glace et j’ai fait une sieste. Quelques heures plus tard, j’ai perdu mes eaux. J’ai appelé Kris en lui demandant de revenir dès que possible. Il est arrivé de nuit à Chicago et n’a pas pu avoir le vol correspondant (trois vols non remboursés plus tard). Notre sage femme m’a conduit à l’hôpital. J’y suis arrivée dilatée de 8 cm (à 10 cm, vous commencez à pousser) et les docteurs m’ont dit de commencer à pousser. (Je me suis alors dit, comment ça pousser, je viens à peine d’arriver !!). Tout s’est passé très rapidement et j’ai tout fait toute seule. Kris est arrivé quelques heures plus tard. Juste après avoir donné naissance, alors que j’étais encore dans la salle d’accouchement, j’envoyais des emails aux clients à cause d’un délai trop juste sur un projet. S’arrête-t-on jamais vraiment de travailler ?

Eva Milinkovic est la directrice artistique de Tsunami Glassworks et nous a écrit cela sur le vif ! www.tsunamiglassworks.com

Eva et Max travaillant à un salon professionnel

Kasia Czarnota:

Je me rappelle m’être tant réjouie à l’idée d’être en congé de maternité. Toute une année libérée de mon travail quotidien ! Ça, et un bébé qui dormirait 20 heures par jour (selon les livres pour les nouveaux parents), mon activité en atelier allait augmenter considérablement ! J’allais faire des tas d’œuvres et je me serais sentie rassérénée !

Évidemment, les choses ne se passent jamais comme prévu. Mon adorable fils n’a jamais dormi, ou alors par laps de 20 minutes autour du cadran. Le temps libre que j’avais cru avoir était restreint et le plus souvent, les quelques minutes que j’avais de libre me servaient à faire des siestes pour récupérer,  tenter de combattre l’épuisement général. Devenir un parent était crevant et plus le temps passait, et plus j’étais embêtée à l’idée de ne rien pouvoir faire d’autre.

Je m’en suis sortie en devenant très patiente. J’ai passé plus de temps à contempler le travail que j’avais prévu de faire, à le tourner dans tous les sens dans mon imagination, à faire des croquis rapides sur ce que j’avais sous la main. Parfois cela me torturait, car penser à créer des œuvres ne donne rien de bien tangible, mais j’ai surtout découvert que ce temps supplémentaire m’avait fait du bien. Avec le temps, les idées solides sont restées et les autres ont été abandonnées en cours. Le travail est plus approfondi. J’ai pu faire des modifications aux modèles avant de commencer à sculpter. J’ai à présent développé des séries d’œuvres qui forment un thème cohérent et voient une progression de design.

Cette concentration m’a permis de mieux utiliser mon temps lorsque j’ai l’occasion de sculpter.

Kasia Czarnota pratique l’art d’être parent ainsi que celui de la pâte de verre à Toronto en Ontario. www.glassartcanada.ca/public/artist/Kasia.Czarnota

Kasia et Adam sortis en ville

Petits conseils de Christy pour les nouveaux parents :

Trouver une garderie flexible

Le prix fait peur, mais il est difficile de travailler avec un bébé. J’espérais que Miller dormirait ou jouerait dans son berceau pendant que je travaillerais ; mais cela n’a pas fonctionné. Miller va à la garderie deux fois par semaine maintenant et ces 16 heures d’atelier par semaine me forcent à me concentrer et être productive. Je ne suis pas bien sûre de ce que j’y faisais avant d’avoir le bébé, mais j’ai l’impression que je parviens à en faire plus maintenant. Vous pouvez aussi inclure les frais de garde du bébé dans les budgets pour les demandes de bourses.

Ne faites pas attention au bazar dans ma maison

J’ai une fois entendu dire dans une interview d’E. Annie Proulx, l’auteur de The Shipping News, que « personne ne se souviendra jamais de vous pour votre talent à faire la vaisselle ». Mon mari Andrew doit croire que j’ai pris le conseil un peu trop à la lettre, mais elle a raison ; laissez tomber la vaisselle et foncez à votre atelier !

Trouver un partenaire qui aime cuisiner

Les jours où vous finissiez, après une longue journée passée à l’atelier, avec une boîte de thon, un sac de popcorns au micro-ondes et un verre de vin rouge en lisant un livre, sont bien révolus. Les artistes n’ont peut-être pas forcément besoin d’un régime équilibré, mais une chose est sûre, les enfants oui.  Un partenaire dont le hobby est de faire la cuisine est donc précieux.

Prenez un chien (pas un chiot, les chiots représentent beaucoup de travail)

Ces derniers temps, les seuls moments où j’ai l’impression d’avoir le temps de réfléchir sont quand je promène mes chiens. Ils m’obligent à faire une pause, à sortir de la maison  et à réfléchir posément.

Cela va en s’améliorant

L’autre jour, nous avons pu couler une pièce en béton tandis que Miller (maintenant 3 ans et demi) jouait avec du papier bulle. Appelé bubble pop pour elle, c’est un jouet magique qui peut l’amuser pendant des heures. Elle comprend maintenant que bien que je sois à la maison, je travaille, et elle apprend désormais à s’occuper toute seule. Elle fait du coloriage et chante à mes côtés tandis que je suis en train d’écrire.

Lorsque ma sœur a accouché, j’étais présente à ses côtés. Le médecin lui a dit de « pousser malgré la douleur ». C’est devenu mon moto. Il y a des jours où cela nous paraît impossible de tout gérer mais je pousse malgré la douleur et j’avance. Devenir cette nouvelle personne qu’on appelle « Maman » me semble parfois encore invraisemblable. Maintenant, après une longue journée en atelier, je me blottis dans le canapé et je regarde un épisode d’Arthur avec un enfant tout propre qui sort du bain et ça fait du bien.

Conclusion :

Chaque parent, artiste ou non, traverse des phases d’ajustement quand il le devient. Apprendre à éduquer et à élever un enfant n’est pas seulement réservé aux artistes, mais je pense que les artistes qui ont collaboré à cet article prouvent qu’ils sont dévoués autant à leur statut de parent qu’à leur personnalité créative. Ils montrent qu’avec flexibilité, persévérance et créativité, on peut équilibrer ses besoins avec ceux de sa famille. Mettez un enfant dans votre vie d’artiste et vous en ressortirez tous deux plus épanouis.

Christy Haldane vit et travaille près de Lakefield en Ontario. Le 13 mai 2012, elle a pu créer une pièce dans son atelier pendant que sa fille Miller faisait du coloriage. Quel beau cadeau pour la fête des mères.

www.christyhaldane.com

By: Jill Allan

By this time last year, I had given up on going to grad school, which was my cherished dream for half a decade!

I was living on Vancouver Island, working for Mel Munsen and trying to re-shape my idea about my future as a glass artist.  For four years I had applied to grad schools in the U.S. and Europe, had been interviewed, rejected, wait-listed and accepted, but not funded.

It seemed as though it wouldn’t happen and putting more time and hope into this dream was unproductive. It was time to abandon the notion of grad school; and so I was surprised to get a call from Robert Geyer offering me a fully-funded graduate position at Bowling Green State University in Ohio last May.

It was the beginning of June before anything was settled and I was in a mad panic to pack and prepare to move to Ohio. The school year at BGSU begins in late August and runs until early May; it is a longer school year than I was accustomed to. This meant that I had to be in Bowling Green by August 9 to go through 10 days of orientation.

It doesn’t seem like it was that long ago now; but the first year has flown by.

Line Study 2 blown vessel and tubular components assembled 9” dia. Jill Allan 2011, photo Jill Allan

I always thought that three-year master’s programs were such a huge time commitment, but I wouldn’t mind extending it by another year now! As part of the program at BGSU, graduate students must enroll in academic and studio electives as well as pedagogical training. While I found all of the course material to be interesting, it was difficult for me to make my own work and do homework and reading at the same time. Because of this conflict, I chose to complete my academic coursework early to better moderate my distractions and later focus all of my energy on studio work.

To me, it was important to prioritize my schedule to make the most of the time here. As a graduate assistant, I also work 15 hours each week in order to earn my assistantship. As part of my assistantship, next year I will be teaching, which is an addition consideration for scheduling.

This summer, I am staying on in Ohio to work, uninterrupted, in the studio making neon and also modular components for a large sculptural work. In addition, I will be using the kilns to make work with photo decals. It feels like this summer is going to be a wonderful time to work and explore my ideas with quiet time to consider and reflect about what I am making.

Line Study 1 blown glass work in progress tubular components Jill Allan 2011 various sizes 2”-5”, photo Jill Allan

My motivations for returning to school to get my master’s are manifold: I want to be able to teach at the post-secondary level; I want to make work that is more expressive and sculptural; and I want time to spend in the studio without the distraction of survival.

For me, teaching art is a way to be connected to a centre for learning and creating; to be part of a creative community. Next semester I will be teaching Glass 1 in the School of Art at BGSU and in the spring I will be teaching in the first-year program. I feel like I have a lot of experience and broad skills to teach and hopefully I also have the right personality to pass it on effectively to my students.

When I think of the teachers that I had at ACAD, I can see that the most important ways that they taught me were by asking questions, giving me space to work it out on my own and most importantly providing encouragement. I hope that I can remember these things when I am teaching.

It seems like Canada is on the verge of building new academic traditions and that there is hope for domestic MFA programs in the near future; I would like to take part in building those traditions and strengthening the international networks of our community through my academic experience.

Since I graduated from ACAD in 1999, I have designed and produced my own work while working for other artists and galleries. Primarily, my work has been based in the craft tradition of vessel making. For me, graduate school is an opportunity to explore new terrain with my work; making work that is larger in scale and more expressive, calling on architectural forms as a basis for inspiration and using glass to alter and shape light. It is 13 years since I graduated from ACAD with my BFA and I have been working steadily since that time to develop my work and my career. It will be interesting to see what comes of my time in the studio when I am not under financial pressure to produce the work I know will sell.

3 Lust in Translation hot sculpted glass lips as prop for photo essay Jill Allan, Bica Heilman, Jamie Miller, Chelsey Hammersmith 2011

BGSU is in Northwest Ohio about 30 minutes south of Toledo. This is a region with a rich glass history both in terms of industrial glass production and the studio glass movement. Dominic Labino, one of the founders of the studio glass movement, received an honorary doctorate from BGSU in 1970. The 1962 glass workshop at the Toledo Museum of Art (TMA) is widely viewed as the seminal event for the studio glass movement; the GAS conference in Toledo this June will be celebrating the 50^th anniversary of the workshop.

The facilities here are great: two 500 lb Wet Dog electric furnaces, gas garage, three benches, two large kilns for casting, and three large annealors. Although there is no room to set up a lampworking station permanently, we will be bending tubes for neon this summer as a special project. The cold shop is equipped with grit wheels, a Denver and a Merker lathe, lapidary saw, band saw, cork and cerium wheels, a large sand-blaster and a gluing station. There is also a plaster area with a steamer and wax pot for mold preparation.

BGSU hot shop, Laura Donefer visiting artist, l-r Rebecca Szparagowski, Larua Donefer, Michael Stevens, Robert Geyer, Lydia Boss, Adam Goldberg, Steve Seubert, Rich Dobrzeniecki Oct 2011 Jill Allan photo

The glass area at BGSU is part of the 3-Dimensional Studies Department of the School of Art. Students at BGSU are encouraged to approach their education from a multimedia standpoint and the programs are set up for mobility between studios. There are about 90 undergraduate students taking glass classes, and about 20 ‘majors’. In the glass area, we are moving toward a comprehensive glass education; covering all aspects of working with glass rather than focusing on the hot shop process. Visiting artists form an important part of the curriculum (Laura Donefer in October, 2011, Ethan Stern in November, 2011). The student glass association (SAGA) is active in fundraising and community building.

The proximity to the collection at the TMA and the new hot shop facilities reinforced my enthusiasm to accept a graduate position at Bowling Green State University. I am currently the only graduate student in glass, but the school has an incoming first-year graduate student in the fall and will continue to accept a new graduate student annually. If you are interested in the BGSU program contact Robert Geyer rgeyer@bgsu.edu or myself jallanatbgsu.edu.

BGSU hot shop 2011 r-l Mark Borz, Ryan Thompson, Nadine Saylor and Jon Zapieki photo Robert Geyer

Pearl blown vessel and solid sphere 9” dia Jill Allan 2012 photo Jill Allan

Jill Allan is a Canadian glass artist from Vancouver Island working towards an MFA at Bowling Green State University in Ohio (BFA 1999 ACAD). Jill is using her time at school to develop new techniques and formats for her work