Peter Ivy: When functional design meets art

February 15, 2013

By: Brad Copping

While many in the glass community were experiencing the ‘Day of the Dead’ at SOFA Chicago last November, those who stayed in Toronto had the rare opportunity to hear a truly enlightening lecture by an artist, designer and exquisite glass blower from Toyama, Japan.

Peter Ivy, who originally hails from Austin, Texas, has been living in Japan for more than a decade.  After studying glass at the Rhode Island School of Design (RISD), he made the pilgrimage to Seattle where he worked with many prominent glass artists and production shops.

Pursuing a personal career exhibiting sculpture, he found himself on the teaching path, returning to the east coast where he taught at Massachusetts College of Art and RISD and then to Aichi University of Education in Japan where he was Head of the Glass Program.

When the path lead to a family, Peter decided to build and open his own glass studio in Toyama, where he is currently concentrating on making wares for daily use.

Whether he is making thought-provoking sculpture or extremely refined functional glassware, he is highly sensitive to the material, the process, and the place in which he finds himself.  As he says, his “process of making is about making his decision-making conscious.”

Our thanks go to Peter, who has graciously allowed GAAC to reproduce that lecture and present it here.  Many thanks also to Harbourfront Centre, and in particular Melanie Egan, for hosting the lecture and accompanying workshop and for the use of the audio of Peter’s lecture, which was recorded November 1, 2012 at the Studio Theatre in the York Quay Centre.

if you don’t see the VIDEO below, click HERE


Historical Account of the Development of Artistic Glassblowing in Quebec 1960 – 1986

by: Bruno Andrus

PhD Candidate in Art History
Part-time faculty, Department of Art History
Concordia University

 To read the FULL LENGTH TEXT with great images click here

This text proposes a synthesis of the research I conducted in the context of my Master’s Thesis in Art History.[1] It retraces the early history (1960-1986) of the artistic practice of glassblowing in Quebec by highlighting the first actors who played a major role in the development of art glass and a glass community in Quebec, as well as their influences. This general period begins, in 1960, with the opening of  Murano Glass, in Montreal, and ends with the opening of Espace Verre / Le Centre des métiers du verre du Québec in 1986. What interested me most are the persons, the events, the contexts of apprenticeships and networking, the studios, equipements, tools and the productions. I was driven by the desire to understand the genealogy of the first community of artistic glassblowers in Quebec, consisted of Sabatino de Rosa, Gilles Désaulniers, Toan Klein, Ronald Lukian, Ronald Labelle, Jean Vallières and François Houdé. These artisans and artists will be at the origin of the foundation of institutions and a very active community  of glassworkers in Quebec. We shall also see that the initiatives of Elena Lee, owner of the first glass art gallery in Canada, located in Montreal, of Jean Michel, director of the Quebec Craft Council (CMAQ) in the middle of 1970s, of Claude Morin, glassblower of French origin having given the first glassblowing workshop in Quebec in 1976, as well as Robert Held and Martin Demaine, Canadian glassblowing pioneers (from the USA), all contributed to the emergence of new cultural productions. More widely we shall see that in Quebec, the development of an artistic practice of glassblowing origins from two sources: the European tradition (Italian, Czech and French) and the American innovation (Studio Glass Movement).

Martin Demaine and François Houdé (front), 1979 Collection Ronald Lukian

Martin Demaine and François Houdé (front), 1979
Collection Ronald Lukian


[1] ANDRUS, Bruno. Le développement de la pratique artistique du verre soufflé au Québec. Thesis. Concordia University. 2010

Unless specified, the information used to construct this historical narrative was gathered through recorded oral testimony and interviews.


Histoire du développement de la pratique artistique du verre soufflé au Québec            1960 – 1986

Par: Bruno Andrus

Souffleur de verre
Doctorant en Histoire de l’art
Part-time faculty, Department of Art History
Concordia University

Pour lire LE TEXTE PLEINE LONGEUR avec de belles images, cliquez ici

Ce texte propose une synthèse du résultat des recherches que j’ai effectuées dans le cadre de mon mémoire de maîtrise en histoire de l’art, en présentant l’histoire du développement de la pratique artistique du verre soufflé au Québec pour la période 1960-1986. [1] Mon enquête met en lumière les premiers acteurs qui ont joué un rôle prépondérant dans l’essor du travail artistique du verre à chaud et leurs influences. Cette période générale s’étend depuis l’ouverture de la compagnie Murano Glass, à Montréal en 1960, jusqu’à l’ouverture de Espace Verre / Le Centre des métiers du verre du Québec en 1986. Ce qui m’a davantage intéressé sont les personnes, les événements, les contextes d’apprentissage et de réseautage, les ateliers et les productions, donc de comprendre la généalogie de la première communauté de souffleurs de verre au Québec composée de  Sabatino de Rosa, Gilles Désaulniers, Toan Klein, Ronald Lukian, Ronald Labelle, Jean Vallières et François Houdé.  Ces derniers ont été à l’origine de la fondation d’institutions et d’une communauté de verriers maintenant très actifs au Québec. Nous verrons aussi que certaines des actions de la part de Elena Lee, propriétaire de la première galerie de verre d’art au Canada, située à Montréal, de Jean Michel, directeur de Métiers d’art de Montréal au milieu des années 1970 et de Claude Morin, souffleur de verre d’origine française ayant donné le premier stage pratique de soufflage du verre au Québec en 1976, ainsi que de Robert Held, Martin Demaine, pionniers canadiens (d’origine étasunienne) du soufflage de verre,  ont contribué à l’apparition de biens culturels nouveaux. Plus largement, nous verrons qu’au Québec le développement d’une pratique artistique du verre soufflé origine de deux sources: la tradition Européenne (italienne, tchèque et française)  et l’innovation Américaine (Studio Glass Mouvement).

Martin Demaine et François Houdé (à l'avant), 1979 Collection Ronald Lukian

Martin Demaine et François Houdé (à l’avant), 1979
Collection Ronald Lukian


[1] ANDRUS, Bruno. Le développement de la pratique artistique du verre soufflé au Québec. Mémoire de maîtrise. Université Concordia. 2010

A moins d’indication contraire, l’information utilisée pour construire cette trame historique provient d’enquêtes orales dont le contenu est documenté.


Art-O-Matic – A Review

By: Debbe Ebanks Schlums

I spent an afternoon viewing Art-O-Matic: Art Meets New Technology, the current exhibition at the Clay and Glass Gallery in Waterloo, Ontario.  Curator Christian Bernard Singer takes us to the future-present by showcasing Canadian and American artists who are employing 3-D printing technology, a method that has been available to engineers for decades, but is now becoming accessible to artists.  This technology gives artists new ways to play with colour, water-solubility, scale, multiples, and other factors to produce an exciting range of possible outcomes.

Art-O-Matic is as much about introducing the viewer to the mode of production as it is about the art produced.  As you walk around the gallery, the art seems somewhat naked due to the exposé of the Maker-bot placed in the middle of the gallery printing out 3-D frogs, laying bare the magic of the making of the pieces.

Guillaume Lachapelle makes sculptures that look like, but would be impossible to make, in porcelain – so delicate for their size they seem as if they would snap at the slightest touch.

Machinations (series title) by: Guillaume Lachapelle

Susan Shantz explores digital sculpture from all angles, including the comparatively archaic method of slip-casting, making for an interesting juxtaposition between the old and the new. Claire Brunet and Future Retrieval bypass the mold-making process by simply scanning animal carcasses and manipulating them digitally before printing them out in 3-D and casting in aluminum or clay.  Brunet’s eerie exploration into family and childhood is especially compelling.

I am especially fascinated by the work of Neri Oxman, an MIT architecture and new media professor with a medical degree who has shown at Centre Pompidou.  Her work dismisses the boundaries between art, science and design. Inspired by biology and possessing real-world applications, it stands alone as works of art.  The objects themselves are aesthetically pleasing and balanced in a mathematical sort of way, but when I look at her art, my mind begs for more because there are so many different ways to engage with the work.  An example of this multifaceted perspective is the Stalasso series. As explained on her website :

“Stalasso” by:Neri Oxman

Mineralization processes form many natural structures and introduce metals, such as gold, into a rock. The resulting rock composition is stiffer and stronger. By using the ratio of stiff to soft materials, Stalasso mimics these mineralization processes for design purposes. This leads to construction based on performance requirements. For example, a bed, a table or a building’s ceiling could be tailored to respond to different weights across its surface according to specific requirements and preferences.

The exhibition at first seems somewhat misplaced at a gallery that specializes in clay and glass, however it serves to inform the public of cutting edge technology being used by ‘traditional’ ceramic or glass artists. For me, this show is about possibility and it challenges all artists to think about their medium in new ways and to continue innovating.  Art-O-Matic is on until March 17, 2013.

Debbie Ebanks Schlums is a pate de verre artist working in Mulmur, Ontario. Holding a degree in International Relations, the topic of technology transfer and cultural change in small communities has engaged her curiosity for the better part of two decades.


Art-O-Matic – Critique

Par : Debbe Ebanks Schlums

Je suis allée passer une après-midi à la Clay and Glass Gallery de Waterloo en Ontario pour visiter leur exposition du moment,  Art-O-Matic: Rencontre de l’Art et des Nouvelles Technologies. Christian Bernard Singer, le conservateur,  nous entraine dans un futur-présent en présentant des artistes canadiens et américains utilisant des techniques d’impression en 3D, méthode accessible aux ingénieurs depuis des décennies mais devenue à la portée des artistes que récemment.  Cette technologie donne aux artistes de nouveaux moyens de jouer avec les couleurs, la solubilité de l’eau, les échelles, les multiples et d’autres facteurs pour parvenir à tout un éventail de possibilités attrayantes.

Art-O-Matic présente aux visiteurs ce mode de création tout autant que l’art qui y est exposé. En se promenant dans la galerie, l’art semble en quelque sorte mis à nu avec l’exposé de Makerbot au milieu de la galerie qui imprime des grenouilles en 3D, révélant brutalement la magie de la création des œuvres.

Guillaume Lachapelle crée des sculptures qui semblent, mais ce serait impossible à réaliser, être en porcelaine ; si délicates pour leur taille qu’on dirait qu’elles vont se briser au moindre contact.

Machinations (series title) by: Guillaume Lachapelle

Machinations (series title) by: Guillaume Lachapelle

Susan Shantz explore la sculpture digitale sous tous ses angles, juxtaposant entre autre la méthode archaïque de coulée en barbotine avec la nouvelle, ce qui rend la comparaison très intéressante. Claire Brunet et Future Retrieval contournent l’étape du moulage en scannant tout simplement des carcasses d’animaux et en les manipulant ensuite digitalement avant de les imprimer en 3D, puis de les mouler en aluminium ou en argile. L’étrange exploration de la famille et de l’enfance de Brunet est vraiment séduisante.

Je suis particulièrement fascinée par le travail de Neri Oxman, qui est professeur d’architecture et des nouveaux media au MIT, diplômée de médecine et a déjà exposé au Centre Pompidou.  Son œuvre repousse les frontières entre l’art, la science et le design. Inspirée de la biologie avec propriétés tirées du monde réel, rien que ça en fait déjà des chefs d’œuvre. Les objets en eux-mêmes ont une esthétique plaisante et un équilibre quasi- mathématique, mais lorsque je regarde cet art, mon esprit en voudrai toujours plus, tant il y a d’interprétations possibles. La série Stalasso est un parfait exemple de cette perspective aux multiples facettes. Tel qu’expliqué sur son site web :

"Stalasso" by:Neri Oxman

“Stalasso” by:Neri Oxman

Le processus de minéralisation prend de nombreuses formes et introduit des métaux tel que l’or dans la roche. La composition de la roche qui en résulte est plus dure et plus solide. En utilisant le ratio pour passer de matériaux solides à mous, Stalasso imite ce processus de minéralisation dans un but esthétique. Ce qui nous mène à une structure basée sur des qualités de performance. Par exemple, un lit, une table ou le plafond d’un bâtiment pourraient être ajustés pour soutenir différents poids répartis en leur surface en fonction de qualités et de préférences spécifiques.

Au départ, l’exposition semble en léger décalage avec la galerie qui est spécialisée dans le verre et la poterie. Pourtant, elle sert à informer le public de l’utilisation de technologie de pointe par les artistes “traditionnels” du verre et de la céramique. D’après moi, cette exposition traite du possible et pousse tout artiste à reconsidérer son matériau autrement et à continuer d’innover. Art-O-Matic est ouvert jusqu’au 17 mars 2013.

Debbie Ebanks Schlums est une artiste travaillant la pâte de verre à Mulmur en Ontario. Elle détient un diplôme en Relations Internationales, le thème de la passation technologique et des changements culturels au sein des petits communautés a piqué sa curiosité depuis ces 20 dernières années.


Just What I needed! How the GAAC Student Project Grant helped me get started

By: Silvia Taylor


The GAAC Student project grant has contributed significantly to both my work and my career as an emerging artist. The support and funding allowed me to develop my work throughout the summer after graduation and to produce a refined series for exhibits and shows. Quite simply, GAAC support has helped shape the very nature of my work; and, I would not have been able to launch my career without it.

Dorjee Series 2011-2012, Copper & Glass, 7” x 4” – 4” x 2.5”, Credit: Silvia Taylor

Dorjee Series 2011-2012, Copper & Glass, 7” x 4” – 4” x 2.5”, Credit: Silvia Taylor

Soon after I graduated from Sheridan, it became apparent to me just how significant electroplating would be in my work. My work at Sheridan sparked my interest in the process, and my fascination with the results confirmed that this was the direction I would be taking. But to realize this dream – I knew that, like any craftsman, I needed the `right tools for the job’. And an electroplater was the key tool.

Ogee Compass Series 2012, Copper & Glass, 5” x 2”, Credit: Silvia Taylor

Ogee Compass Series 2012, Copper & Glass, 5” x 2”, Credit: Silvia Taylor

My challenge was that I couldn’t afford one. And, to earn one, would mean working at other jobs at the expense of developing my art. I applied for the GAAC Student Project Grant and was ecstatic when I had learned that I was chosen for the grant. From my research, I learned about the process, components and suppliers. This made shopping for value straightforward.

As, I had been accepted to display my work at several shows that summer, having the electroplater ready to go as soon as possible was essential. Moreover, having the electroplater fully installed made it possible to create my work and experiment with the technology throughout the summer. I played with the positioning of the copper in relation to the glass piece being plated, the intensity of the amperage, the temperature of the acid bed, and many other variables. And, with this careful experimentation, discovered new results. Each experiment I learned some essential dos and don’t of electroplating, and started to really develop an awareness of the process and the effects I could create, and what worked best for each piece.

Untitled, 2012, Copper & Glass, 6” x 3.5”, Credit: Silvia Taylor

Untitled, 2012, Copper & Glass, 6” x 3.5”, Credit: Silvia Taylor

By September, I was able to bring these skills and knowledge back to Sheridan where I was employed as a teacher’s assistant. At home, I continued to explore the technology, I discovered that I was able to create a variety of textures, and control copper `growth’.

Again, this was all achievable because of the grant for the electroplater.  Further, having my own electroplater enabled me to do my own work at home and to keep Sheridan’s electroplater available for students (though I did use it a couple times).

When the Sheridan glass students went to Corning, NY for the first year field trip, I researched information on electroplating from their extensive library. I learned more about the electro-chemistry and trouble-shooting tips for this technology.

I was able to transfer this directly to the first-year students at Sheridan when I taught them the electroplating unit.

And after an entire year of experimenting, failing, succeeding, teaching, and exhibiting I am still left with some left-over materials from the initial grant. It is amazing how much this grant has helped me in the last year and will continue to help me for years to come. Thank you again for such an incredible opportunity, and for investing in my career!

Dorjee Series, 2011, Glass & Copper, 7” x 4”, Credit: Silvia Taylor

Dorjee Series, 2011, Glass & Copper, 7” x 4”, Credit: Silvia Taylor



Seeing My New Friends Naked

By: Jade Usackas

When I came to Calgary to finish my degree at the Alberta College of Art + Design, I learned pretty quickly that things are a little different here. New people, new studio, new perspectives on the material, there was a lot to take in, especially at the first department meeting.  When the topic of fundraising came up, we all went over the standard fundraising methods: Christmas balls, pumpkins, valentines…until someone mentioned the idea for a nude calendar. It had been done by another department in a previous year and it seemed like a fun and unique way to raise money to support the program. We took a poll of who would be willing to participate… it seemed like we had enough interest…. so we gave it the green light.

I don’t think any of us anticipated the amount of time and planning that a project like this required: finding people who were willing to get naked seemed to be the easiest part of the process. Aside from sorting out the printing, layout, photographer, sponsors etc, we had to figure out what to do with all of these naked bodies, now that we had them. Coming up with creative ways to cover up all of the no-no bits, figuring out whose chest would fill out which blocks … who we could get to stand in front of an open furnace with no more than a smile … it was an interesting way to get to know your peers, to say the least.

A unique demonstration of block usage and technique, photo credit: Yuen-ying Carpenter

A unique demonstration of block usage and technique, photo credit: Yuen-ying Carpenter

Once we had all of the logistics sorted out, we set a date and started to let the reality of what we had signed up for sink in. Needless to say there were mixed feelings in the days leading up to the shoot: Apprehension and excitement, last-minute trips to the gym, talk of starting the day off with a mimosa or three, it was definitely at the forefront of our minds. When the day finally came, the studio was full of ladies doing up their best hair and makeup while the gentlemen patiently waited and played pump-up jams in an effort to gets us all psyched for our big debut.

We started the shoot with our group photo. The idea was to get down to our skivvies and grab whatever hot shop item you thought would give you the best coverage. It was an interesting moment when we all started to get down to our intimates… for some, the clothes came off without hesitation, for others it was more of a slow peel, with reluctant glances at the progress of their peers. Not surprisingly, everyone seemed to find their chosen form of coverage pretty quickly.

An innovative use of paddles and Kevlar, photo credit: Yuen-ying Carpenter

An innovative use of paddles and Kevlar, photo credit: Yuen-ying Carpenter

With our cover shot out of the way it was time to get down to our content photos. We talked each pair or trio through what their pose would look like, made sure the floor beneath their feet would be free of any sharp surprises and politely turned our heads as they disrobed and handed us their undergarments. You might be surprised how quickly you get comfortable with being around naked people or how conversely, after seeing a dozen naked bodies attached to new faces all day there’s still a slight hesitation when it’s your turn to bare all. That being said, after the initial awkwardness wore off, the individual shoots went swimmingly well.  This was largely in part to the good humor, sweetness and professionalism of our photographer Yuen-ying Carpenter who somehow knew all of the tricks keeping things fun and light while masterfully obscuring anything that would require a fig leaf in the Garden of Eden.

Two fine gentlemen preparing to charge the furnace: Yuen-ying Carpenter

Two fine gentlemen preparing to charge the furnace, photo credit: Yuen-ying Carpenter

When all was said and done and it was time to reap the benefits of our labor, the calendar received a warm reception. We’ve had a great response from friends and family, and even a couple of online sales. We’re all still working hard to spread the word and sell as many calendars as possible. All of the money raised through calendar sales goes directing back into the program, allowing us to bring in visiting artists, upgrade and repair equipment, and attend conferences and workshops giving our students valuable opportunities to learn and grow that would otherwise not be possible.

If you’re interested in purchasing a calendar of you own it’s not too late! You can follow us on our Facebook page and buy calendars online from our Etsy shop .

Group photo of the hottest studio at ACAD, photo credit: Yuen-ying Carpenter

Group photo of the hottest studio at ACAD, photo credit: Yuen-ying Carpenter

Jade Usackas was born in Orillia, Ontario. Her work — which focuses on kiln casting, blown work, and mixed media — is functional and sculptural while exploring issues of nostalgia and social relationships. After completing glass programs at Sir Sandford Fleming College and Sheridan College, she is now working towards her degree at the Alberta College of Art + Design.


The Glass App For That

By: Jeff Werstiuk

Ever wanted to have access to a hot shop everywhere you go? Of course you do, you’re obsessed with blowing glass and can’t get it off your mind! Bumbletech has developed the next best thing for now, a glassblowing simulator app called iGlass 3D (not to be confused with the iGlass computerized specs that Apple is said to be developing). Released in 2009, this app is available for iPhone, iPad and Android, costing 99 cents to download.

The version for the iPhone has the most unique feature that this glassblowing simulation has to offer: when you blow into the mic/speakers of the device you are able to expand the bubble of molten glass on the screen with your breath, similar to puffing into a blowpipe. To be perfectly honest, that’s almost as much realism you will get to the actual process of fabricating with molten glass. On the other devices this is accomplished by physically expanding the bubble with your fingers.

Also adding to some realism is the ability to rotate the blowpipe on the screen by hand (well, by finger) in order to access the sides of the bubble you wish to work on, and can even set the pipe spinning. However spinning the pipe is counter-intuitive to working on a piece as it needs to be stationary in order to properly shape it. Neither gravity, nor temperature for that matter, has any effect with this particular process.

On the lower right hand side of the screen is a tool icon that takes you to another screen of options. The only selection of tools available are an odd pair of tweezers with rounded ends that allows you to grab and pull larger sections of the molten glass bubble at a time, along with what looks like a pair of jacks, but are supposed be used as thin tweezers which provide smaller, tighter manipulations of the piece. Other choices on this screen are a garbage can for when your work goes horribly wrong, and an annealer that instantly cools down your masterpiece to be displayed in crystalline form. These finished glassworks can then be posed and rotated 360 degrees, along with the option to photograph it in order to be shared on social media with your friends and admirers. Hey, at least there’s no cold-working required!

The developers claim that this app was inspired by the GlassRoots Studio of Newark, NJ, which specializes in teaching the youth of the area in the skills of glassblowing. Proceeds from the downloads go towards funding this studio and its programs.

One has to honestly question how much about the glassblowing process the developers fully understand, or whether their choices came down to programming issues and making this app as accessible as possible to non-glassblowers. While not truly authentic to the studio experience, the iGlass 3D app still allows some opportunity for creativity once you figure out the basic principles of it. Not as complicated as the real thing, yet still fairly challenging to get the hang of at first. If nothing else, it reduces the need for bit work by allowing you to simply pull out the bubble for additions without drastically impacting the core shape. This is a perk, as we all know we need to give up valuable bench time when we utilize the aid of an assistant in the hot shop. Based on that alone, this is a steal for 99 cents!


No Greater Love

mie Gray


 Definition:  volunteer (noun)

1     a person who freely offers to take part in an enterprise or undertake a task:

2     a person who works for an organization without being paid:

(From Oxford Dictionary online,



I have to say there are two kinds of people I very much like to be around.  The first are those who know how to have a really good time and drag everyone else along with them, even (and perhaps especially) when there’s no money.  And the second are those who volunteer.  For anything.  Because after working with volunteers for quite a few years now on the GAAC Board, here’s what I know about them that makes me love them. 01 Presidents Message Feb 2013

 Volunteers are unselfish and generous-spirited.  They know the value of time and that it’s a rare gift to give … and they still give it.  We each only have so much of it, after all.

Though volunteers like getting paid as much as the next guy, they give their time and talents as a free gift.  It’s been said that volunteers don’t get paid, not because they’re worthless, but because they’re priceless.  True; volunteers lighten everyone’s burdens.

Volunteers don’t often get recognized … and they’re generally okay with that.  It’s all part of that generosity of spirit thing.  They’re in it to matter and be purposeful on behalf of something good or someone they care about; otherwise, they wouldn’t do it.  They’re in it because they believe the more you give, the more you have.

I don’t know if you know the good folks who volunteer for GAAC on your behalf, so I welcome you to see who they are here:  We come from many provinces across our country, pooling our time and resources to bring you the website, the magazine, social media updates, project grants, conferences, exhibitions, and general news.  We have three volunteer student representatives, one from each of our three glass schools.  Our regional representatives send in news and articles from four of the regions across the country.  We’re even coordinated by our new Volunteer Coordinator, Alex Anagnostou.  And we have one contracted employee, Christy Haldane, who puts in a multitude of volunteer hours in addition to her paid hours.  This, my friends, is one fantastic group of volunteers.  I hope you love them too.

Let me wrap up this happy, mushy love-fest by agreeing with past president Irene Frolic who said, “I have never had the pleasure of working with such a group of clear-thinking, enthusiastic professionals.”  That goes for me too, Irene.  And another past president, Ben Goodman, had this to say about GAAC volunteers, “As is often said (and it is true), serving on a volunteer board is a thankless task.  You do it because you believe in the organization and what it does for the community it serves.”  That’s for sure.  We love our organization and the people it serves.  Finally, Paulus Tjiang, who served at a time when it looked like GAAC would fold due to a lack of volunteers, said, “Looking back, the experience illustrates how tenuous our volunteer organization or group really is.  It’s the actual will and strength of individuals and their actions that truly make greatness.  The Association will only endure with the active participation of individual members with altruistic motives.”  So true, Paulus.  I don’t know you, but I love you.

02 Presidents Message Feb 2013

Would you like to get in on a good thing?  Ride along on something wonderfully positive?  Nobody will tell you it’s an easy journey but it certainly is amazing.  If you’d like to join us, talk to Alex at gaacvolunteer1[at]  There are lots of ways GAAC could use a good, helping hand or two.


Le véritable amour


Jamie Gray


Définition: bénévole (nom)

  • Qui apporte son aide volontaire et sans être rémunéré

(Dictionaire Larousse en ligne,énévole/8738)




Il y a deux types de  personnes que j’apprécie beaucoup à vrai dire. Les premières sont celles qui savent vraiment passer du bon temps et entrainent les autres avec elles, même (et surtout) sans besoin d’argent. Les deuxièmes sont celles qui font du bénévolat pour quoi que ce soit. Parce qu’ayant travaillé avec des bénévoles depuis plusieurs années maintenant au sein du comité de la GAAC, voici ce que j’en ai appris et les raisons pour lesquelles je les adore.

01 Presidents Message Feb 2013

Les bénévoles sont des personnes désintéressées et généreuses d’esprit. Ils connaissent le prix du temps et savent que c’est un précieux cadeau à offrir…mais ils le donnent quand même. Apres tout, on n’en possède tous qu’une certaine quantité limitée.

Bien que les bénévoles apprécient tout autant d’être rémunérés que n’importe qui d’autre, ils donnent de leur temps et de leur talent gratuitement. On dit que le bénévolat n’est pas rémunéré, non pas parce qu’il ne vaut rien mais parce qu’il n’a pas de prix. Et c’est vrai, les bénévoles soulagent le fardeau de toute le monde.

Les bénévoles ne reçoivent pas souvent de reconnaissance…et ça leur convient souvent ainsi. Ça fait partie du côté désintéressé de la chose. Ils s’y mettent pour faire la différence et apporter quelque chose à une bonne cause ou une personne qui leur est chère ; sans quoi ils ne le feraient pas. Ils le font parce qu’ils sont convaincus que plus vous donnez,  plus vous êtes riches.

Je ne sais pas si vous connaissez les personnes généreuses se portant volontaires à la GAAC pour votre bien, et donc je vous encourage à aller les consulter ici:

Venant de  provinces différentes à travers le pays, nous sommes nombreux à rassembler notre temps et nos ressources pour mettre à votre disposition le site internet, le magazine, les événements sociaux à venir, les bourses pour des projets, les conférences, les expositions et les nouvelles en général.

Nous avons trois représentants étudiants bénévoles de chacune de nos trois écoles de verre. Nos représentants régionaux nous envoient des informations et des articles des quatre coins du pays. Nous sommes même coordonnés par notre nouveau Coordinateur de Bénévoles, Alex Anagnostou.  Nous avons une employée sous contrat, Christy Haldane, qui fournit elle aussi une multitude d’heures supplémentaires bénévolement en plus de ses heures rémunérées. Voici donc un sacré groupe de bénévoles. J’espère que vous les appréciez aussi.

Pour  conclure dans tout ce festival d’amour bienheureux à l’eau de rose, voici les propos de l’ancienne présidente Irene Frolic auxquels j’adhère totalement : « Nulle part je n’ai pris autant de plaisir à travailler avec tel groupe de professionnels si enthousiastes et lucides. » Tout à fait d’accord avec toi Irene ! Autre ancien président, Ben Goodman a dit des bénévoles de la GAAC, « Comme on le dit souvent (et c’est très vrai), le bénévolat dans une association est un travail ingrat. Vous le faites parce que vous croyez en l’association et à ce qu’elle apporte à la communauté qu’elle sert. » Bien dit ! Nous adorons notre association et les personnes à qui elle sert. Enfin, Paulus Tjang, qui en faisait partie à une période où la GAAC était sur point de mettre la clé sous la porte par manque de bénévoles a dit : « En y repensant, l’expérience montre à quel point notre association de volontaires est tenace. C’est la volonté et la force de ces individus et de leur action qui en ont fait la réussite.  L’association durera tant qu’elle aura une participation accrue de ses membres et conservera son esprit altruiste. » Tout à fait vrai Paulus. On ne se connait pas, mais je t’adore.

02 Presidents Message Feb 2013

Ça vous dirait de  participer à quelque chose de bien? D’embarquer dans une aventure merveilleusement positive ? Personne ne vous dira que c’est un long fleuve tranquille mais c’est réellement fabuleux. Si vous voulez nous rejoindre, contactez Alex à Il y a des tas de façons dont la GAAC pourrait profiter de la bonne volonté de quelques mains.