Rumours of Science

October 15, 2015

How many times have you heard someone spread the rumour that glass is actually a liquid and flows very slowly? I was recently taking a (non-glass) workshop and the instructor shared this ‘fact’ with the class. He offered the usual proof of this slow flow of glass  –  the fact that the windows of old buildings are often thicker at the bottom. It is painful to hear rumours spread about the material you love. In the interest of truth, science and using YouTube for something other than cat videos, join me on an educational video journey to dispel this myth.


DNews. Is Glass Really a Solid? (2015), Video, 3:21.

DNews. Is Glass Really a Solid? (2015), Video, 3:21.



Unrelated glass science bonus! A super interesting TED-Ed video explaining the transparent nature of glass!


TED-Ed. Why is Glass Transparent? (2014), Video, 4:07.

TED-Ed. Why is Glass Transparent? (2014), Video, 4:07.



Ed Colberg was first introduced to working with hot glass in 2005. He has studied glass blowing and glass sculpture with many prominent names in the Canadian and international glass art community. He graduated with distinction from the Alberta College of Art + Design in 2014. Ed currently lives in Toronto, Ontario, where he is a full-time Artist-in-residence in the glass studio at Harbourfront Centre. Ed is greatly influenced by nature and intangible aspects of human experience.



Les rumeurs de la science

par Ed Colberg

(Les vidéos ne sont pas disponible en français.)


Combien de fois avez-vous entendu cette rumeur qui prétend que le verre à l’état liquide se répand très lentement? J’assistais récemment à un atelier (non verrier) dans lequel l’enseignant expliquait justement ce phénomène à la classe. Pour démontrer la théorie, il a cité l’exemple habituel des fenêtres des vieux immeubles qui sont souvent plus épaisses à leur base. Dans l’intérêt de la vérité, de la science et pour utiliser YouTube à autre chose que pour regarder des vidéos de chats, suivez-moi dans ce voyage éducatif en vidéo qui chassera les mythes.


DNews. Le verre est-il vraiment un solide? (2015), Vidéo, 3:21

DNews. Le verre est-il vraiment un solide? (2015), Vidéo, 3:21



Aucun rapport, un bonus scientifique sur le verre ! Une vidéo TED-Ed super intéressante expliquant la nature transparente du verre !


TED-Ed. Pourquoi le verre est-il transparent? (2014), Vidéo, 4:07

TED-Ed. Pourquoi le verre est-il transparent? (2014), Vidéo, 4:07



Ed Colberg a découvert le travail du verre à chaud en 2005. Il a étudié le soufflage du verre et la sculpture en verre avec de grands noms de la communauté du verre canadienne et internationale. Il a obtenu son diplôme avec les distinctions à l’Alberta College of Art + Design en 2014. Ed habite à Toronto en Ontario où il est artiste résident à temps plein à l’atelier verrier du Harbourfront Centre. Ed est très influencé par la nature et les aspects intangibles de l’expérience humaine.



The Magic of 3D Printing

December 8, 2014

by Cheryl Wilson Smith


I was lucky enough to receive and GAAC Grant and an OAC Grant to attend University Washington this spring for almost 3 weeks.

Previous to this I had the immense good fortune to do a glass mentorship courtesy of Fusion with The Head of Glass at Sheridan, Koen Vanderstuken and 8 other amazing clay and glass artist.  This mentorship pushed me in the direction of my current work which is “ manual 3D printing” Koen Vanderstukken strongly suggested I learn more about 3D printing, and after searching the internet I was fascinated by the work being done by Prof. Ganter at Solheim Lab at University Washington in Seattle. Prof. Ganter himself is a former Emerge finalist and this is the only place I am aware of printing in glass. Other than being a mechanical engineer, he is also an accomplished artist.


Wilson Smith, Cheryl

Wilson Smith, Cheryl


Dr. Storti, Ben, Prof. GAnter and Mark at  Solhiem Lab ,University Washington.

Dr. Storti, Ben, Prof. Ganter and Mark at Solhiem Lab ,University Washington.


After bugging Prof. Ganter several times over email he agreed that I could come work with him at the University under one condition,  I had to learn Rhino.  For those of you not familiar with it, this is a CAD based surfacing program. I used both a Maker Bot type printer that extruded plastic….we used a corn based plastic called PLA.


Wilson Smith, Cheryl

Wilson Smith, Cheryl


From this I printed all the shapes I had previously created in Rhino .

Another really interesting discovery for me was that I have never been able to consider scale. I cannot imagine how I could scale object by exactly 10% in wax or clay, or how long the math alone would take me let alone the sculpting.


Wilson Smith, Cheryl

Wilson Smith, Cheryl


So after working through my designs in PLA and then powder printing in flour and powder printing in a clay and glass mixture, we began printing in glass.


Flour clay and Glass

Flour clay and Glass


Flour clay and Glass

Flour clay and Glass



glass 3D printed


What started out as a journey to understand has now become one of excitement and opportunities.  I will spend the next few months discovering how I can apply what I have learned to my manual process and how it will influence my work.  Thank You to the GAAC and the OAC for  all the help, you have made a huge difference in my life and art practice.  If you have questions that you think I can answer, please feel free to contact me



Cheryl Wilson Smith is an artist working in glass frit sculptures for over 5 years. Her delicate works fit into the palm of your hand, and remind you of torn and woven paper, though the glass surface is as tough as nails.

 Through her work, Cheryl explores the human connection to the land through its spiritual resonance. Her latest work painstakingly layers minute glass particles, known as frit, to create detailed sculptured objects. These castings are technically challenging, using a method similar to 3d printing. The countless individual layers are more delicate than torn paper yet when combined, become fascinating objects contradictory in nature–manifesting both curiosity and beauty, fragility and strength.

 Cheryl’s work has been show throughout Canada and the US, including exhibits at the  Definitely Superior Gallery (Ontario), Minnetrista, Muncie (USA) the Ontario Crafts Council and the Cre8ery Gallery (Manitoba, Canada). Cheryl has been fortunate enough to have received several grants from the Ontario Arts Council, which have assisted her growth.

In Cheryl’s own words, “My sculptures allow the viewer to draw associations with their own remembered landscapes, resulting in a meditative and emotional response.”


Priest’s Mill Glassworks Inc. – A Design View of Craft

November 14, 2013

By Jie Yang


Sheridan College has been evaluating its Crafts and Design program over the past couple of years, working on switching from a diploma to a degree-granting program. During this evaluation, one of the questions that arose was, “What is the main focus of this program? Craft or design?”


01 IFGlass - A design view of Craft

02 IFGlass - A design view of Craft


I believe this is a question that arises in many people’s minds when they are standing in front of the Craft and Design building; trying to figure out what is the difference or what is the relationship between craft and design.


It was a similar situation to when I finished my fashion design degree in Beijing, China. After graduating, everyone was trying to figure out which area to pursue in the future. Did they want to be seamstresses? Or did they want to be the designers?


03 IFGlass - A design view of Craft


I decided not to go either way and went to the media world. After a few years working with lifestyle magazines, I came to Canada to study glass. And after three years in the program, it looks like I am faced with the same decision dilemma: whether to become a craftsperson or to be a designer.


In my first two years at Sheridan, I practiced skills and technique as much as I could in order to become comfortable with the material as quickly as possible. The more I understood glass, the more new ideas I had about things I was interested in making. Soon my sketchbook was completely packed with drawings; it was quite frustrating. I wanted to do everything but in the short amount of time I had at school only allowed me to scratch the surface of the glass world.


04 IFGlass - A design view of Craft

05 IFGlass - A design view of Craft


Paul van den Bijgaart became the problem solver. I met this tall blonde curly haired guy at Sheridan.  He’s quietly proud of his technical skills. Paul graduated from Haliburton School of the Arts, before attending Sheridan. He had been working with glass for three years, and worked as the Glass Technician at Red Deer College’s Summer Series Program. In the final semester at Sheridan, we decided to try this “design + craft” mold, working together as a team. I paid more attention to designs, and Paul’s knowledge and skill with the material allowed these designs to become a reality with astonishing quality in a time efficient manner.


06 IFGlass - A design view of Craft

07 IFGlass - A design view of Craft


We found the designer/craftsperson crossover works well for us. We came out with a variety of products in a very short time period. The more new products that came into the real world out of my sketchbook, the more I felt that this was a productive team worth continuing. Our focus is on creating contemporary crafts with a sleek and modern design. We use our skills and talents to make unique designs, as well as beautiful and practical glass objects. As a team we work on blending the boundary of craft and design, and in this way we can both use our strengths to benefit the team.


08 IFGlass - A design view of Craft



Jie Yang was born and raised in Beijing, China. She studied at Beijing Institute of Clothing Technology, where she received a bachelor’s degree.  She then became an editor. In 2010, she traveled a long distance from China on a whim to study glass art in a foreign country. Coming to Canada with a background in fashion design would prove very useful to her time at Sheridan College. Her focus was specific to design, striving for the utmost of quality and innovation within her artworks. After 3 years of the Crafts and Design Glass Program, she became one of the members of Priest’s Mill Glassworks Inc., continue using the skills she gains in Sheridan to pursue her future.



RHAPSODY Sculpture

February 15, 2013


RHAPSODY is a shimmering, undulating, custom-designed sculpture of hand-formed and hand-cut waves of flowing glass designed for an entrance canopy created by Oded Ravek, Designer and Glass Artist, RAVEK Architectural Glass Art, for Mastercraft Starwood’s new hotel-inspired luxurious condo located in the QUAD Arts District, Ottawa.

Oded Ravek in studio, designs a wave with hand cut and layered glass

Oded Ravek in studio, designs a wave with hand cut and layered glass

02 RHAPSODY Glass Art Sculpture Sapphire, Magenta, Gold and Iridescent Stream c. RAVEK AGA 2012. All Rights Reserved

Close-up of kiln fired wave of RHAPSODY

03 Oded installs glass art for RHAPSODY c. RAVEK_AGA 2012. All Rights Reserved

Oded Ravek installing waves of RHAPSODY

Forming one harmonious movement, RHAPSODY Sculpture was inspired by the Ottawa River’s rapids. Composed of 28 dynamic, iridescent waves of glass, the sculpture appears to float at the glass-enclosed 4’ x 14’ entrance canopy to Ottawa’s new SuperLuxury SoHo Parkway.

RHAPSODY Sculpture shimmers at sundown

RHAPSODY Sculpture shimmers at sundown

A spectacular sculptural statement, the public presentation of RHAPSODY took place June 27, 2012.

SoHo Parkway proudly presents RHAPSODY Sculpture

SoHo Parkway proudly presents RHAPSODY Sculpture


Red Deer College Summer Series

October 15, 2012

By: Larissa Blokhuis


In 2007, I took a summer glassblowing course at Red Deer College.  It was an incredibly fun experience, blowing glass from 9 a.m. until 8 p.m.  As a student, I just enjoyed the experience of learning new techniques, trying out new ideas, and practicing the basics.  I didn’t put much thought into what was going on behind the scenes.  This summer, I got the chance to see behind-the-scenes as a TA for Jeff Holmwood’s course, “Advanced Glassblowing for Beginners.”

Jeff Holmwood studied glass at the Alberta College of Art + Design from 1990 – 1994, and has had an active career as a glass artist since then.  He has been at Red Deer every summer since the mid 90s, first as a student, then as a tech, and now as a teacher.  He teaches two one-week courses back-to-back, so that students can take both courses if they like.  We did have two repeating students, and several students who have taken Jeff’s courses before.

I found out that Jeff was in need of a TA, and I jumped at the opportunity.  Jeff, myself, and three techs (Cailey Buye, Paul van den Bijgaart, and Jie ‘Amy’ Yang) worked to make sure the students had all the support and instruction they needed. We used so much glass that the techs had to charge the furnace every night. Jeff’s enthusiasm and energy pushed the students to go big, go complex, go murrini. With such a high number of teachers, I feel we had a successful run at catering to everyone’s different learning styles.

Photo Credit: Larissa Blokhuis. Photo Caption: Calm action in the hotshop.

Jeff and the morning tech arrived before class every morning to light up and ensure the equipment was working and the benches were all set up.  All five of us did demos and worked with students individually. Jeff’s experience at Red Deer College has taught him that there is always a mix of beginners and advanced glassblowers; the course must be adjusted for each student’s different skill level.

Although class ended at 4 p.m., Jeff stayed late every day to continue working with students.  He ensured that every student had the opportunity to make at least one murrini piece, with murrini he brought from his personal practice. After shutting down for the night we often gathered at Jeff’s residence to see each other’s artist slide shows, with the night tech ducking out occasionally to charge the furnace.  Many of the students were quite accomplished in other areas such as ceramics or painting.

One of the students with no previous glass experience, Carlie Marsh, had this to say about her experiences in the class:

“I decided to take a glass course because I wanted to try something I had not done before. I am currently a Fine Arts student at Red Deer College, so I have a good general knowledge in many different types of artistic media.  I wanted to expand my artistic horizons from the typical drawing and painting classes, to something that I had no experience or knowledge in. And for me, that was trying glassblowing.

”I had first seen glass art in Seattle, and was immediately inspired by the forms and colours that gracefully became a unique expression of an artist’s ideas. Being in ceramics at RDC helped me to get an idea of how glass artists may have created pieces, but after trying it, I realized how far from ceramics it was. I expected it to be a lot easier than it was. All the experienced glass artists make it look so easy. It was hard! But I enjoyed the challenge of it.  I think the difficult part is having to work quickly and with such precision.  I also learned how much of a team experience it is. You are always working with someone, if not many people, communicating and creating together.  All other art up until now had been done by myself, and glassblowing really opens your eyes to collaborative work.

”I definitely think what I learned from the course will carry over to my other art.  I learned so much about how important communication is, and the possibilities created while working with others.  It really opens up more opportunity for inspiration.  I think I am going to take that with me, just learning and feeding off of other artists and their advice.  It helps so much, and it really makes you want to create stuff … just make the most of everything.

”The teachers, technicians and assistants were all really, really helpful, especially in the beginning.  When you sit down at the bench for the first time with blazing hot glass on a punty, you don’t really know what to do with it.  You are just fixated on having hot glass and not really on what to do next.  By the time you’re done thinking “Man, this is really hot!”, the glass has already cooled down.  It happens so fast!  The teachers and assistants really guide you and help you to multitask, and keep you from falling into the “staring at hot glass” mind frame.  They keep you moving to the next step, and that in itself is a big help in reaching your goals.  If you don’t know what to do next, it’s hard to do anything by yourself.  Once you know the steps, they can help you with your own ideas and give you inspiration with demos and their own creations.  That’s when it all comes together, and that is when it gets awesome.

”If I had to share anything about my experience, I would just say that keeping it fun and safe makes everything that much more awesome.  You can’t get attached to something too much, because odds are, something is going to flop. That is okay though, it is all part of the experience.  And that is what helps you learn, helps you to be better.  It’s the experience you invest in.
“My advice … don’t wave a hot punty around like a mad man … that just scares everybody. If you want to be in the business of scaring people, directing horror films is where it’s at.

”Overall, I had a great time with the people at the glass course.  They made everything fun.  It was challenging at times, but that is why I think people fall in love with it.  I am going to do it again, I’m sure.  Seeing the journey you take through the pieces you create in the end just shows how much you can improve and the potential you have to do more.  It is exciting! Everyone has to try it or at least watch it.  It’ll change you.  Just do it.”

Photo Credit: Larissa Blokhuis. Photo Caption: Jeff’s murrini.


As a teacher, it was very rewarding to work with Carlie and the other students.  It was great to see someone develop new skills and understanding because of my instruction.  Carlie has great potential in the arts world, and now thanks to the whole team at RDC this summer, she has a new set of skills for working with glass.

The summer series team helped to create an environment of learning and creativity that will positively affect the practices of current art students, whether they choose to pursue glass or not.  For those just looking to try something new and have fun, I feel we increased appreciation of the skill involved in glassblowing.  Overall, being a student and being a TA were both great experiences.  I recommend both to anyone looking for a little kick-start to their creativity.


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.


Beyond the Hotshop: An Interview with Lisa Cerny

By Erinn Donnelly

This past summer, Lisa Cerny volunteered as a Teaching Assistant for Jane Bruce at Pilchuck Glass School, in Stanwood, Washington.  Pilchuck hosts a broad spectrum of courses taught each summer by international artists and is a world renowned centre for glass art education.  We sat down with Lisa for a candid interview, sharing with us her experiences there and providing insight into the TA position.

Q: For those who may not have had the opportunity to participate as a TA, or perhaps for those who are thinking of an assistant position, can you tell us a little about what your duties were?

I’ve been a TA before, but with Jane it was different.  She really gave a lot of leeway in the hot shop.  My roll was perhaps a little larger, given my experience, and the class being held at Pilchuck.  I feel a certain comfort level that maybe a first timer wouldn’t.  I TA’d for Jane’s class The Glass Buffet, which offered a taste of coldworking, kiln working and blowing.  I was able to augment that a bit by doing a grawl project, since that’s kind of my niche, and because of my experience, I could be more involved rather than just solely taking direction.  The hotshop stuff was pretty basic, so I got to make some engraved blanks and I blew the grawls out for them, demonstrating how you can take something out of the hot shop and bring it back in.  I really enjoyed Jane’s class.  It was great for anyone who wanted to get a taste of everything.

Q: Does teamwork play an important role when working as a TA?

Absolutely, yes.  It really helped that I knew Jane already, but I did TA for April Sargent the summer before, whom I had never met.  Sometimes walking in cold to something like that can be tricky because you don’t know the personality of the person you’ll be working with, but I have had great experiences.  As I said, having previously known Jane offered a level of comfort so I didn’t have to worry about a personality clash.  Each experience is so different; the structure of the class and their teaching styles, it all varies.  As a TA you kind of have to be on the same page as the instructor. I would suggest to someone, if they are thinking of being a TA, to be familiar with the person’s work.

Q: Can you tell us a bit about your style and how you like to work?  Does that come into play when you TA for someone, or do you find it’s just all about adaptability?

That’s a tough question because you don’t want to step on anyone’s toes.  Knowing Jane prior makes the scenario a bit different, but as a TA you’re not the instructor, so I’m conscious of that, and you have to be.  Most of the structure of the course comes from the teacher, but I will try to augment that in any way I can.  It’s important to be conscious of the teacher’s role and of your own.

The work I do can sometimes be very different, how I engrave with the Foredom, or my grawl technique. I have a certain body of knowledge, alongside the instructor’s, and I feel it’s my job to relay that knowledge back to the student.  It’s not even really a style that I have, it’s just being able to draw on my body of knowledge and impart that.

Q: You’ve had a certain level of success in your own career, do you find that acting as a TA helps keep you inspired? 

It definitely has and being at Pilchuck was also hugely inspiring.  It’s nice to get reaffirmed, to know that what you’re doing is okay.  That’s part of why I enjoy being a TA.  It’s a huge learning experience and even though I was Jane’s TA, I knew going in that I would learn quite a bit from her, and I did.  It was like I was a student 40 per cent of the time and a TA the other 60 per cent.  I’ve been lucky; I’ve been a TA three times at Pilchuck and each one has been a great experience.  I’ve had the pleasure of working with some really amazing people, and have learned so much over the years.

Q: Does the work that you assist with translate back to your own work in any way?  New techniques or new ideas?

I’m not very prolific, so I can’t say I run back home to produce a whole new body of work.  I kind of come back and want to try some new stuff.  For example, with Jane, I want to try some new kiln exercises, but life gets back into its same old routine when your time as TA is over.  For me, it becomes a matter of having the time for my own work.  I would have loved if Jane’s class went on for another two months because I would have been able to do more of my own stuff there.  I don’t find it easy to do my own work here.

Q: Is there anything that currently piques your interest in glassblowing or kiln work?

Kiln working is a different process and approach. It feels almost more thoughtful because you can leave it and come back to it, move it around, change it, and with the hot shop it’s more about working with the medium in the now.  I love the immediacy of blowing, but sometimes it can be a little too immediate.

I’d say kiln forming itself is what’s grabbing my attention.  It’s a new thing for me, and with Kirstie Rea having been here [at ACAD] and with Jane, it’s been a great learning experience.  The possibilities of what you can do with flat glass… It’s just really exciting!  We didn’t do that kind of stuff when I was in school.

Right now even, students seem to be gravitating toward coldworking and the kiln, and I want to be able to assist them.  I want to have a little more knowledge beyond the hotshop.  Being a TA, and being able to TA for, and work with, artists like Jane, has helped broaden my scope.


Lisa Cerny has attended Simon Fraser University, Concordia University and holds a BFA from the Alberta College of Art + Design.  She currently works at ACAD as a Fine Art Technician and Extended Studies instructor.  Every summer she teaches at the Summer Series at Red Deer College, with friend Lisa Samphire, and has held roles at Pilchuck Glass as a Poleturner, student and Teaching Assistant. Her work incorporates both drawing and glassblowing, and makes reference to her fascination with faces and places. To view Lisa’s work, please visit her site at, and for Jane`s, please visit



The Hardest Working Glassblower in Vancouver

June 15, 2012

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.”


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.