7 Ascetics – A Family Portrait

June 30, 2016

Author: Valérie Paquin

 

01.Paquin_7ascetes

 

 

02.Paquin_7ascetes_Isabelle

 

ISABELLE

After seeing the Tiffany exhibition at the Montreal Museum of Fine Arts, Isabelle Alepins was hooked: she just had to work with the fascinating material that is glass. From that moment on, the transparency, illuminating colours and thickness of glass, which create optical effects, have become an important part of her daily routine. Finally, she feels ready to reveal her work, which allies femininity, nature and accumulation, to the viewing of the public. Now here’s someone that is genuinely ready to start a business and who cannot wait to tackle sales and direct marketing with clients. “It is incredibly gratifying to create your own work and then sell it,” she says with a confident look.

 

03.Paquin_7ascetes_Jef


JEF
For Jean-François Boivin, glass is a doorway to the 3D universe. With great commitment, he took almost all of the intensive weekend classes offered at Espace VERRE. One night, he dreamed that he was enrolled in the DEC glass programme. His dream soon became a reality! He, who came to get notions and tips on how to better structure his creativity, can now declare: “mission accomplished!” His passions for astronomy and photography preoccupy him more than ever and are now joined by his chosen material: “exploring glass with a camera is, for me, as fascinating as exploring the universe with a telescope.”

 

04.Paquin_7ascetes_Gwen

                                                                       

GWEN
For our wood elf, Gwenaël Guyot, everything begins in the forest. A Henry David Thoreau of modern times, he wanted to remove himself from the comfort zone of society by putting himself in a survival situation in the middle of La Vérandrye Park. But his theatrical baggage gives him away—Gwen loves words as much as the wilderness: “without being hyperactive, I am always moving.” Moreover, he loves the hyperstructural side of graphic design, programming and the creation of websites. For him, glass is a very contradictory material that matches his own conflicting values. Perhaps he will always try to find harmony between living in the forest and life in the city.

 

05.Paquin_7ascetes_Steph

 

STEPH
Stéphanie Leblond is the self-proclaimed black sheep of the group. Her wardrobe supports this statement. Meticulous to the very last detail, she became a recluse for many hours this semester so that she could sculpt and dress her fantastic figurines, which are inspired by the Alice in Wonderland universe. Her goals in life are measured by the height of her talent: since metal is yet untamed by her, she enrolled in the jewelry making DEC. She also wants to continue working with glass in the Fusion workshop.

 

06.Paquin_7ascetes_Sara


SARA
Sara Mélissa Paniagua is a genuine aesthete who needed to rehash her technical skills. For her, glass offers the perfect conditions needed to create: loss, waste, slowness. This allows her to seize the inspiration of the moment. What does she see in the near future? A residency abroad in Montréal, saving up for a kiln and forming a collective with artistic friends. “When I want something in life, usually, I get it,” she says with a sly grin.

 

07.Paquin_7ascetes_David

 

DAVID
It was with a baggage in fine arts that David came to glass, the only material that gives optical effects. ”I love its delicate side that is simultaneously rough… massive.” It is the experimental process—and the feeling of surprise when you open the kiln—that is the real passion: playing with tests, annealings and creating patterns. His work matured during his 3rd and final year of the DEC, where he came out of his comfort zone. Now armed with all the knowledge acquired at Espace VERRE, he hopes to be accepted as a member of the Fusion programme and develop his own line of products.

 

08.Paquin_7ascetes_Maciej

 

MACIEJ
By means of his studio exploration—random constructions created from the natural movements of molten glass and copper dancing under the effects of the heat—Maciej Geoffroy wanted to represent the futility and instantaneity of emotions. His gestural and intuitive work process was his critique about our contemporary society, but Maciej left us too soon to deliver the conclusion of his reflection. It is with a vow of silence that he has joined the stars.

 

 

7 ASCÈTES | PORTRAIT DE FAMILLE

Auteur: Valérie Paquin

 

01.Paquin_7ascetes

 

 

 

02.Paquin_7ascetes_Isabelle

 

ISABELLE
C’est après avoir vu l’exposition Tiffany au Musée des beaux-arts de Montréal qu’Isabelle Alepins a la piqûre : elle veut travailler cette matière fascinante qu’est le verre. Depuis, la transparence, les couleurs qui s’illuminent, l’épaisseur qui crée un effet optique sont devenus des incontournables de son quotidien. Elle se sent maintenant prête à soumettre son travail, qui allie féminité, nature et accumulation, au regard des autres. En voilà une qui est véritablement prête à se lancer en affaires, et qui a même hâte de s’attaquer à la mise en marché, à la vente et au contact direct avec les clients. « C’est vraiment gratifiant de faire son propre travail et de le vendre, » affirme-t-elle avec son regard confiant.

 

03.Paquin_7ascetes_Jef


JEF
Pour Jean-François Boivin, le verre est une entrée dans l’univers du 3D. Un mordu qui avait essayé presque tous les cours intensifs de fins de semaine offerts à Espace VERRE, une nuit il rêve qu’il s’inscrit au DEC… un rêve qui deviendra réalité! Lui qui était venu chercher des principes et des démarches pour structurer sa création, il se dit maintenant « mission accomplie ». Ses passions pour l’astronomie et la photographie l’habite encore et viennent dorénavant rejoindre sa matière de prédilection :
« explorer le verre avec une caméra, pour moi c’est le même plaisir qu’explorer l’univers avec un téléscope ».

 

04.Paquin_7ascetes_Gwen

 

GWEN
Avec notre elfe des bois, Gwenaël Guyot, tout commence dans la forêt… Henry David Thoreau des temps modernes, il voulait sortir du confort de la société pour se confronter à une situation de survie dans le parc de Vérandrye. Mais son bagage théâtral le trahis – Gwen aime les mots et la scène autant que la nature sauvage : « sans être hyperactif, je suis toujours dans le mouvement ». Il aime aussi le côté hyper-structurel du graphisme, de la programmation et de la création de sites Web. Pour lui, le verre est une matière pourvu de beaucoup de contradictions, qui rejoint bien les valeurs discordantes qui l’habitent. Peut-être cherchera-t-il toujours l’harmonie entre la vie en forêt et la vie en ville?

 

05.Paquin_7ascetes_Steph

 

STEPH
Stéphanie Leblond s’est autoproclamée le mouton noir du groupe. Sa garde-robe vient appuyer l’hypothèse. Méticuleuse jusqu’au bout des doigts, elle s’est recluse maintes heures cette session pour sculpter et habiller ses personnages fantastiques inspirés de l’univers d’Alice au pays des merveilles. Ses ambitions pour l’avenir sont à la hauteur de ses talents : comme il lui reste le métal à dompter, elle s’est inscrite au DEC en joaillerie, et veut continuer à travailler le verre en participant à l’atelier Fusion.

 

06.Paquin_7ascetes_Sara

 

SARA
Sara Mélissa Paniagua est une véritable esthète qui a ressenti le besoin de retourner à la compétence technique. Pour elle, le verre offre les conditions nécessaires à la création : perte, gaspillage, lenteur… il lui permet de saisir l’inspiration du moment. Comment envisage-t-elle l’avenir? En stage à l’étranger, à Montréal en train de sauver ses sous pour s’acheter un four, partir un collectif avec des amis artistes… « Quand je veux quelque chose dans la vie, habituellement, je l’obtiens, » dit-elle avec un sourire en coin.

 

07.Paquin_7ascetes_David

 

DAVID
Avec un bagage en arts plastiques, David Plante vient au verre, le seul médium qui permet des jeux optiques. « J’aime son côté délicat, mais rough à la fois… massif. » C’est le processus d’expérimentation – et la surprise à la sortie du four – qui le passionne véritablement : jouer avec les essais, les cuissons, les motifs. Son travail gagne en maturité pendant sa 3e et dernière année de DEC, où il sort vraiment de sa zone de confort.

Maintenant armé de toutes les connaissances acquises à Espace VERRE, il veut être membre de l’atelier Fusion et développer sa gamme de produits.

08.Paquin_7ascetes_Maciej

 

MACIEJ
Par son travail exploratoire en atelier – des constructions aléatoires faites à travers les mouvements naturels du verre en fusion et du cuivre dansant sous l’effet de la chaleur –, Maciej Geoffroy cherchait à représenter la futilité et l’instantanéité des émotions. Sa démarche gestuelle et intuitive était le reflet de son regard critique sur notre société contemporaine, mais Maciej nous a quittés trop tôt pour nous livrer le véritable fond de sa pensée. C’est avec un vœu de silence qu’il rejoint les étoiles.

 

 

 

Share

Life Is Not Always Easy: The Alberta College of Art and Design

Author: Robyn Feluch

 

Since 1974, the furnaces and glory holes have heated the depths of the Alberta College of Art + Design. The basement is the home of 36-year glass blowers, casters and fusers—a family of glass artists. As with any family, you assume that members will always be there. But this year our glass department suffered a devastating loss when one of our instructors, Jim Norton, died suddenly on January 28th, 2016. He was a mentor, an encourager, an excellent instructor and a wonderfully talented glass blower. Jim brought a special spark to ACAD Glass that fueled the students to experiment, practice and keep creating. The department, which is a close knit group of 5 instructors, 36 majors and countless students, whom he taught, were left devastated by Jim’s death. But as a true family, we all came together to support each other through this loss. We used our feeling of love and respect for Jim as fuel for our artwork. In Memory of Jim, the ACAD glass department is starting a scholarship in his name. Please visit https://acad.ca/jim-norton to donate to Jim’s memorial fund.

Even with the death of Jim weighing on our hearts, life continues to go on and so did our year. We had a very successful Mug Night. During our Mug Night, some of Jim’s creations were auctioned off to benefit the scholarship in his name.

Our visiting artist this term was Dave Walter. As a department, we were able to watch four different demonstrations by Dave from hot sculpting glass to the techniques involved in enameling his narrative pieces. Along with the skills he showed us, he gave us valuable feedback on what it takes to be a part of the glass industry. I am sure these lessons and insights will stay with us as we continue our individual glass practices. As we finish off our year and graduate 10 of our glass major students into the larger world of glass, we should give a special thank you to all of our talented instructors who give us their support, knowledge and skills in order to help us on our journeys.

 

Wiznura, Declan. Skate or Die (2016) 32”x8”x4” Fused and slumped printed glass

Wiznura, Declan. Skate or Die (2016) 32”x8”x4” Fused and slumped printed glass

 

Wiznura, Declan. Traffic Cones (2016) 8”x8”x7”, 8”x8”x7”, 8.5”x8.5”x8” Blown Glass

Wiznura, Declan. Traffic Cones (2016) 8”x8”x7”, 8”x8”x7”, 8.5”x8.5”x8” Blown Glass

 

Declan Wiznura 
Declan Wiznura combines prints, which are inspired by marks associated with graffiti, with blown glass in order to achieve the patterns he desires on his forms. Glass is produced in a moment that cannot be recreated: there is only one chance at production. Glass is made under pressure, both literally and figuratively. There is one opportunity for success or failure. Graffiti is created in one continuous movement, the marks created cannot be recreated therefore everything is produced in a continuous motion. This moment of creation is a core principle of graffiti culture. Declan has created a series of prints, rollups and pieces based on these ideas using marks found in graffiti. The use of glass powder to print creates a visual texture that is unique to its material. The glass powder also mimics the spray from an aerosol paint can, thus creating a strong visual bond between the influence of graffiti and the finished piece.

 

Gluszak, Brianna. Stigma (2016) Kiln formed and cold worked glass, cement

Gluszak, Brianna. Stigma (2016) Kiln formed and cold worked glass, cement

 

 

Brianna Gluszak

I’ve always found a sense of refuge within the wilderness, naturally it has become the subject of what I make. I often catch myself drawing out the details of different natural materials like wood, rock and water, focusing on the intricacies of the layout and how the material acts. Looking and drawing have become an act of meditation—allowing my mind to escape from the mundane of normal life. Then, approaching making, I use a process of embodied learning. I do a series of experiments and modify my ideas based off of my results. Only then do I start working on a finished product. I use depth and dimension within glass to challenge the viewer’s perception, giving him or her the opportunity to focus solely on looking. Looking acts as a form meditation within my methodologies. Through making I am giving the viewer the opportunity to engage in this form of meditation. The subtitles I place within the glass allow the viewer a further moment of contemplation.

 

Craypo, Taygan. Taffy (2016) hot formed glass

Craypo, Taygan. Taffy (2016) hot formed glass

 

Craypo, Taygan. Carved Taffy (2016) hot formed glass and cold worked glass

Craypo, Taygan. Carved Taffy (2016) hot formed glass and cold worked glass

 

Taygan Crapo 

Glass is hot fluid beauty. To work with glass you must gently direct it towards the outcome that you want. It is like riding an untrained horse, all you can hope for is to guide the forward momentum. Relaxed focus is the key. Hot glass has a hot candy consistency that requires constant motion to avoid disaster. If you miss a twirl or allow the glass to cool too quickly or unevenly, your vases will break into a thousand pieces. But, if your luck holds, you will have a split second that you can admire your vessel before it must be placed in the kiln to prevent shock cracks from forming. It will be at least 12 hours before you can admire it again. That is, if it survives the cooling process.

 

Harrill, Sarah. 1 (2016) Casted glass

Harrill, Sarah. 1 (2016) Casted glass

 

Harrill, Sarah. 2 (2016) Casted glass

Harrill, Sarah. 2 (2016) Casted glass

 

Sarah Harrill 

The Existential and Absurdist philosophies are what motivate my interests and artistic practices. The subject matters in my work are inspired by the nature that surrounds me. The themes explore nostalgic serene experiences that humans instinctively create with and of nature. By using crystal clear glass to cast the hybrid figures, they suddenly become ethereal entities that help confront our perceptions of reality and existence.

 

Feluch, Robyn. Icebergs Series (2016) Blown glass

Feluch, Robyn. Icebergs Series (2016) Blown glass

 

Robyn Feluch 

 

Authors Biography:

Robyn Feluch is a second year glass major at the Alberta College of Art and Design and an accomplished oil painter. Robyn grew up on an acreage in the Alberta foothills where she rode horses, attended 4-h and helped out with the neighbour’s cattle.  She enjoys the western lifestyle and considers herself “a good, clean cut, country gal that loves to paint and create glass.” Her passions include: horses, wildlife, painting and glass work.

 

La vie n’est pas toujours facile: The Alberta College of Art and Design 

Auteur: Robyn Feluch

 

Depuis 1974, fournaises et ouvreaux réchauffent les profondeurs du Alberta College of Art & Design. Son sous-sol héberge une famille de 36 artistes verriers qui travaillent le verre en le soufflant, le coulant et le fusionnant. Comme dans toute famille, on s’imagine que ses membres seront toujours présents. Malheureusement, Jim Norton, un de nos instructeurs, est décédé subitement le 28 janvier 2016. Quelle immense perte pour notre département du verre! Jim était un mentor, un motivateur, un instructeur hors pair et un souffleur de verre merveilleusement talentueux. Il avait cet enthousiasme particulier qui incitait les étudiants à expérimenter, à pratiquer et à continuer à créer. Son décès a littéralement chaviré le département de 5 instructeurs, 36 étudiants à la majeure, et un très grand nombre d’étudiants à qui Jim a enseigné. Mais, tout comme le ferait une vraie famille, nous nous sommes rassemblés pour nous soutenir dans cette épreuve. Notre amour et notre respect pour Jim ont été une source d’inspiration artistique. En mémoire de Jim, le département de verre de l’ACAD a créé une bourse en son nom. Prenez le temps de consulter ce lien pour faire un don au Fonds commémoratif en honneur de Jim : https://acad.ca/jim-norton.

Mais la vie continue, et nous avons poursuivi notre année scolaire malgré notre cœur alourdi par le départ de Jim. Notre soirée Mug Night a connu un vif succès et pendant cet événement, certaines des créations de Jim ont été mises à l’encan au profit de la bourse d’études créée en son nom.

Cette session-ci, Dave Walter était l’artiste invité du département. Nous avons pu assister à quatre démonstrations différentes données par Dave, de la sculpture du verre à chaud en passant par les techniques d’émaillage de ses œuvres narratives. Outre la présentation de ces techniques, Dave nous a aussi renseignés sur ce que ça prend pour faire partie de l’industrie du verre. Je suis certaine que nous n’oublierons pas ces leçons et observations dans le cadre de nos pratiques personnelles. Alors que l’année scolaire se termine et que dix d’entre nous feront leur entrée dans le grand monde du verre, nous devrions remercier tout particulièrement ces talentueux instructeurs qui nous appuient, qui partagent leurs connaissances et leurs talents afin de nous aider dans notre parcours.

 

Wiznura, Declan. Skate or Die (2016) 32”x8”x4” Fused and slumped printed glass

Wiznura, Declan. Skate or Die (2016) 32”x8”x4” Fused and slumped printed glass

 

Wiznura, Declan. Traffic Cones (2016) 8”x8”x7”, 8”x8”x7”, 8.5”x8.5”x8” Blown Glass

Wiznura, Declan. Traffic Cones (2016) 8”x8”x7”, 8”x8”x7”, 8.5”x8.5”x8” Blown Glass

 

Declan Wiznura 
Declan Wiznura combine des imprimés, inspirés de marques associées aux graffitis, avec du verre soufflé pour obtenir les motifs qu’il désire sur ses formes. Le verre est produit en un instant qui ne peut pas être recréé : il n’y a qu’une chance de production. Le verre est produit sous pression, littéralement et figurativement. C’est la réussite ou l’échec. Le graffiti est créé par un mouvement continu. Les marques créées ne peuvent être recréées et tout est donc produit en un mouvement continu. Ce moment de création est au cœur même de la culture du graffiti. Declan a créé une série d’imprimés mis en forme par enroulement, des pièces conçues d’après cette idée d’utiliser les marques retrouvées dans les graffitis. L’utilisation de poudre de verre pour l’impression crée une texture visuelle qui est unique à son matériau. La poudre de verre ressemble aussi à la pulvérisation d’une peinture en aérosol, créant ainsi un lien visuel évident entre l’influence du graffiti et la pièce achevée.

 

Gluszak, Brianna. Stigma (2016) Kiln formed and cold worked glass, cement

Gluszak, Brianna. Stigma (2016) Kiln formed and cold worked glass, cement

 

Brianna Gluszak

La nature a toujours été un refuge pour moi. J’ai toujours trouvé refuge dans la nature. Elle est donc tout naturellement devenue le sujet de mes créations. Je me surprends souvent à dessiner les détails de différents matériaux naturels comme le bois, la roche ou l’eau, et à apporter une attention méticuleuse aux subtilités de la disposition et à la façon dont le matériau agit. Pour moi, l’observation et le dessin sont devenus des actes méditatifs – cela permet à mon esprit d’échapper à la banalité de la vie normale. Puis, quand vient le temps de la création, j’utilise un processus d’apprentissage personnifié : je fais une série d’expériences et je modifie mes idées d’après mes résultats. Ce n’est qu’après que je commence à travailler sur le produit fini. Je me sers de la profondeur et de la dimension au sein du verre pour stimuler la perception du spectateur, lui donnant l’occasion de se concentrer uniquement sur l’observation. L’acte d’observer est une forme de méditation dans le contexte de ma méthode. Par ma création, je donne au spectateur l’occasion de participer à cette forme de méditation. Les sous-titres que je place à l’intérieur du verre offrent au spectateur un moment additionnel de contemplation.

 

Craypo, Taygan. Taffy (2016) hot formed glass

Craypo, Taygan. Taffy (2016) hot formed glass

 

Craypo, Taygan. Carved Taffy (2016) hot formed glass and cold worked glass

Craypo, Taygan. Carved Taffy (2016) hot formed glass and cold worked glass

 

Taygan Craypo 

Le verre est un fluide chaud d’une grande beauté. Pour le travailler, vous devez le diriger avec douceur vers le résultat souhaité. C’est comme monter un cheval non dressé : il faut seulement espérer pouvoir orienter son mouvement. La concentration détendue est la clé. Le verre chaud a la consistance du bonbon chaud; un constant mouvement est requis pour éviter un désastre. Si vous ratez une boucle ou laissez le verre se refroidir trop rapidement ou de façon non uniforme, vos vases vont se rompre en mille morceaux. Mais, si vous avez de la chance, vous aurez une fraction de seconde pour admirer votre récipient avant de devoir le placer dans le four pour éviter la formation de fissures dues au choc thermique. Puis, il vous fait attendre au moins 12 heures avant de pouvoir l’admirer de nouveau, si et seulement si la pièce survit au processus de refroidissement!

 

Harrill, Sarah. 1 (2016) Casted glass

Harrill, Sarah. 1 (2016) Casted glass

 

Harrill, Sarah. 2 (2016) Casted glass

Harrill, Sarah. 2 (2016) Casted glass

 

Sarah Harrill 

Ce sont les idéologies existentielles et absurdes qui m’intéressent et motivent mes pratiques artistiques. Les sujets de mon travail sont inspirés de la nature qui m’entoure. Les thèmes explorent des expériences sereines et nostalgiques que les hommes créent de façon instinctive avec et d’après la nature. En utilisant du verre transparent pour mouler des figures hybrides, elles deviennent soudainement des entités éthérées qui nous aident à confronter nos perceptions de la réalité et de l’existence.

 

Feluch, Robyn. Icebergs Series (2016) Blown glass

Feluch, Robyn. Icebergs Series (2016) Blown glass

 

Robyn Feluch 

 

Biographie de L’auteur:

Robyn Feluch est étudiante en deuxième année de majeure au Alberta College of Art and Design. Elle est aussi une artiste-peintre accomplie. Robyn a grandi sur une terre dans les contreforts albertains où elle se promenait à cheval, était membre des 4H et aidait ses voisins avec leur bétail. Elle aime le mode de vie de l’Ouest et elle se considère comme une vraie fille de la campagne qui adore peindre et créer des articles en verre. Elle se passionne pour les chevaux, la faune, la peinture et le travail du verre.

 

 

Share

A Fitting End to an Era: The Final Graduating Class of the Sheridan College Advanced Diploma, Crafts and Design, Glass Program

Author: Paola Crossley

 

2016 will be the final year that students graduate from Sheridan College’s Advanced Diploma, Crafts and Design, Glass Program. The college has been a touchstone for the glass community since this program first launched back in 1969. No one could have predicted its longevity or the new direction the college embarked on two years ago when Sheridan first introduced a Bachelor program in Craft and Design. The change brought a shift to a multi-disciplinary approach and the addition of a fourth year. I am part of the new. But I, and the rest of my cohort, owe a huge debt to those who came before.

In a lesser group of people, you might have had discord between the two factions. But not here. As first year students, we must have been as pesky as a young brother or sister trying to keep up. As the wiser older sibling, the third years (as we affectionately call them) were patient, encouraging and supportive. In their own unique way, each one of them has left their mark on us.

I had the privilege of interviewing each graduate for this article. Previously, if you had asked me if I knew them, I would have said yes. In reality, the interviews showed me how little I really knew about them—about what compelled them to work in glass, what inspired them and what their hopes and dreams are for the future.

Some are flameworkers, others are hotshop aficionados and others still are sand and kiln casters. Each one of them approaches glass differently, but what they all have in common are a passion for glass, a commitment to excellence and a desire to just keep working. I encourage you to take the time to read their artist profiles and get to know them as I did—as professionals starting a career in the wonderful world of glass.

 

Cator, Will. Motorcycle (2016), borosilicate glass, 7”H x 3”W x 10”D. (Photo: Will Cator)

Cator, Will. Motorcycle (2016), borosilicate glass, 7”H x 3”W x 10”D. (Photo: Will Cator)


 

Will Cator

Will Cator’s life revolves around motorcycles. He parlayed his passion for these machines into a successful career as a motorcycle wrangler for various movies that are shot in-and-around the Greater Toronto Area. His second love is working with glass. As a flameworker and a sandcaster, his work is inspired by his motorcycle passion and the tools of the trade. His ongoing series of detailed miniature motorcycle sculptures and Harley pendants in borosilicate glass attest to this passion. Lately, he has been focussing on honing his skills by casting life-size wrenches and other tools in blue glass. He desires to continue to focus on his flameworking skills and improve his ability to accurately capture bike culture.

Will anticipates a career that includes glass but is focused on his love of motorcycles. He is happiest when he manages to combine both worlds. Sheridan provided a strong sense of community similar to that of the bike world. This sense of community is what Will foresees missing the most.

www.molassesglass.bigcartel.com

 

Crozier, Geoff. Untitled Vase (2016), Incalmo, murrini roll-up, 13”H x 7.5”W x 5”D. (Photo: Chace Giardino)

Crozier, Geoff. Untitled Vase (2016), Incalmo, murrini roll-up, 13”H x 7.5”W x 5”D. (Photo: Chace Giardino)

 

Crozier, Geoff. Untitled Bowl (2016), sculpted flower hot attached to blown bowl, 6”H x 9”D. (Photo: Chace Giardino)

Crozier, Geoff. Untitled Bowl (2016), sculpted flower hot attached to blown bowl, 6”H x 9”D. (Photo: Chace Giardino)

 

 

Geoffrey Crozier

Geoffrey Crozier first started blowing glass when he attended a certificate program at the Haliburton School of the Arts. During his four-month stay at the school, he spent hours practicing glass techniques every day.

From the time of his childhood, Geoffrey has always enjoyed working with his hands. Prior to glass blowing, he developed skills in other mediums such as welding, woodworking, ceramics and sculpting and he continues to explore various mediums today.

While attending Sheridan College, Geoffrey worked with the resident artist, Mathieu Grodet, and soon discovered his love for Venetian glass. Mathieu taught him some of the fundamental skills used in Venetian glassblowing – traditional techniques that Geoffrey intends to continue to explore.

After graduation and a summer session at Pilchuck studying with Debora Moore, Geoffrey plans to travel to both Seattle and Murano to further his knowledge of glass making.

geoffreyjcrozier@gmail.com

 

Davis, Melani. The Rose (2014), kiln cast glass, 15”H x 5.5”W x 2.5”D. (Photo: Melani Davis)

Davis, Melani. The Rose (2014), kiln cast glass, 15”H x 5.5”W x 2.5”D. (Photo: Melani Davis)

 

Davis, Melani. Rough Water (2016), fused glass, 18”H x 28”W. (Photo: Melani Davis)

Davis, Melani. Rough Water (2016), fused glass, 18”H x 28”W. (Photo: Melani Davis)

 

Melani Davis

Melani Davis discovered a passion for glass later in life, after retiring from her teaching career. Her passion started innocently enough, with a class in beading, and continued with classes in stained glass, fusing and flameworking. These part-time classes only further fueled her devotion. Unsatisfied, Melani decided to embrace her passion and enroll in the Advanced Diploma program for glass at Sheridan.

Melani’s keen observance of the world and the changes that have occurred over her lifetime are the inspiration for the work she creates from fused and kiln cast glass. After losing both siblings and a mother to illness, her current work vacillates between celebrating life and mourning loss. Her Jewish heritage, sustainability and poverty are other themes that Melani continues to explore.

A number of years ago, Melani built a small home studio and gallery where she has the ability to quietly pursue her work and display her craft. Now that she has graduated, Melani intends to expand the scope of her practice and eventually teach flameworking and kiln casting from her studio.

melani.davis@gmail.com

melanidaviscreations.com

 

Di Mascio, Eric. Currents (2016), glass, canvas, 72”H x 24”W. (Photo: Calyssa Erb)

Di Mascio, Eric. Currents (2016), glass, canvas, 72”H x 24”W. (Photo: Calyssa Erb)

 

Di Mascio, Eric. Phantom Limb Calf, (2016), cast glass, prosthetic thigh and foot, 20"H x 5"W x 5”D. (Photo: Eric Di Mascio)

Di Mascio, Eric. Phantom Limb Calf, (2016), cast glass, prosthetic thigh and foot, 20″H x 5″W x 5”D. (Photo: Eric Di Mascio)

 

Eric Di Mascio

Eric Di Mascio’s traumatic childhood has had a profound influence on his work. He was seven years old when his father lost a limb to cancer. The illness was not common knowledge at the time and Eric was alarmed when he returned home one day to find his father physically changed. Doctors could provide a prosthetic limb to increase mobility but they had no solution for the phantom pain that came from the missing limb. The idea of humanizing the prosthetic and providing solace for his torment is what drives Eric’s work.

Eric creates his sculptural work using both kiln and sandcasting methods. He is influenced by classical ideals and he uses these influences as he strives to breathe life into the limbs of his Phantom Pain series. “I am interested in capturing a pure, raw feeling that can be both beautiful and sad.”

Eric’s dream is to share his love of glass with others. He intends to advance his glass studies with the potential of entering teacher’s college in the future. In addition to his Phantom Pain work, Eric will continue to explore ways of capturing static movement in his installation work.

dimascio.eric@gmail.com

 

Fayad, Hannan. Untitled (2016), blown glass, sandblasted, 11” H x 11” D. (Photo: Hannan Fayad)

Fayad, Hannan. Untitled (2016), blown glass, sandblasted, 11” H x 11” D. (Photo: Hannan Fayad)

 

Hannan Fayad

Inspired by the effects of erosion and the texture of timeworn materials, Hannan Fayad replicates this condition by sandblasting the exteriors of her blown glass pieces. She began with the notion of creating indents, craters and small holes on the surface. Over time, she perfected the technique to create her signature luminous, hole-filled orbs. The end result is a study of light and shadow play that continues to fascinate her.

Hannan came to Sheridan excited about the prospect of learning to blow glass. She enjoys the logical aspect of working glass, but her focus remains firmly rooted in the myriad of creative possibilities that the material provides. Skill development and experimentation are important, not only in her hot shop work, but also in the work she creates by sandcasting over organic materials. She is intrigued by the possibilities these processes provide for her ongoing exploration of texture.

Hannan will be heading back to London, ON, with the hopes of forming a small artist collective with her ceramicist partner. In the meantime, she is looking to purchase a sandblaster to continue experimenting with her spheres. Future work includes creating installation work with her forms.

hannanfayad@gmail.com

 

Ferguson, Reid. Jacob Street (2016), fused glass and concrete, 2.5”H x 10.25”D. (Photo: Reid Ferguson)

Ferguson, Reid. Jacob Street (2016), fused glass and concrete, 2.5”H x 10.25”D. (Photo: Reid Ferguson)

 

Ferguson, Reid. KW Railroad Set- (left to right) King and Victoria, Strange Street, Westmount and Westwood, (2016), fused glass and concrete, 2.75”H x 8.25”D. (Photo: Reid Ferguson)

Ferguson, Reid. KW Railroad Set- (left to right) King and Victoria, Strange Street, Westmount and Westwood, (2016), fused glass and concrete, 2.75”H x 8.25”D. (Photo: Reid Ferguson)

 

Reid Ferguson

Reid Ferguson can trace his love of graffiti art back to his youth when he was first exposed to Shepard Fairey, the American contemporary street artist, graphic designer, activist and founder of OBEY Clothing. Shepard proved that graffiti and urban decay could be beautiful. Reid is inspired by the discarded, often-ignored areas where graffiti artists ply their trade. These hidden nooks and crannies provide alone space and instill him with a sense of connectedness and spirituality that others find in church.

He explores these ideas in his work. His fused glass and concrete bowls are layered with found and created imagery that Reid further manipulates. He also creates graphic statements using standard graffiti techniques such as the throw-up: a technique using a one colour outline and one colour fill. Although a throw-up is traditionally used for quick execution, Reid’s work is often a mediation on his desire for connection.

Reid will continue working in glass while exploring other mediums including using found objects. After all, he believes that you, “don’t need high quality materials to create work. Work with what you have and do something with that.” This is the ultimate manifestation of a practice based on urban decay.

reidhferguson@gmail.com

 

Ireson, Dani. Segment (2016), sandcast, graphite cast, and laminated glass, 15” H x 2.75” W x 2.75” D. (Photo: Rachelle Ireson)

Ireson, Dani. Segment (2016), sandcast, graphite cast, and laminated glass, 15” H x 2.75” W x 2.75” D. (Photo: Rachelle Ireson)

 

Ireson, Dani. Soft Mountain (2016), laminated float glass and stone, 4” H x 3.5” W x 1.5” D. (Photo: Rachelle Ireson)

Ireson, Dani. Soft Mountain (2016), laminated float glass and stone, 4” H x 3.5” W x 1.5” D. (Photo: Rachelle Ireson)

Dani Ireson

During a recent road trip through California, Dani Ireson was captivated by the rock striations that seemed to emphasize the passage of time. Inspired by a desire to make permanent that which is fleeting, Dani created a series of works using laminated glass and rock. The use of found and mixed-media materials is typical of her work as she regularly explores new processes, materials and techniques.

Dani enjoys everything about glass, from the team aspect of the hot shop to the meditative state of coldworking. She successfully combines her knowledge of glass blowing, hot sculpting, sandcasting and coldworking with other materials to create decorative and functional works. But it is the creation process itself that she enjoys the most. “Breathing life into glass and watching it change in front of you is an experience I will never tire of.”

Dani enjoys sharing her love of glass and her knowledge with other students. She hopes to one-day parlay into a teaching role. For the time being, she is focusing on developing her skills while assisting Paull Rodrigue in his Dundas, ON studio and building a small coldworking shop in her home.

www.danielleireson.com

ireson.aout@gmail.com

Instagram – @Danielleiresonglass

 

Kimber, Loni. in(FINITE) (2016), blown glass, concrete, 27.5” H x 5.7” W x 6.5”D. (Photo: Loni Kimber)

Kimber, Loni. in(FINITE) (2016), blown glass, concrete, 27.5” H x 5.7” W x 6.5”D. (Photo: Loni Kimber)

 

Loni Kimber

Like most curious children, Loni Kimber just wanted to touch things and push all the buttons—literally. This playfulness comes through in her work as a glass blower, fuser and kiln caster. Her vibrant, fused half-spheres just beg to be touched while her sculptural works focus on movement, light and the bright candy-inspired colours she remembers from her youth. Just like a curious child, Loni creates by making mistakes, choices, experimenting and embracing happenstance.

Loni had an opportunity to incorporate all of these interests during a recent class at Urban Glass in Brooklyn where she studied neon. Her tube series attempts to capture the colour, line, shape and aspect of light that neon provides but without the limitations of working with the material.

Next steps for Loni include heading to Pilchuck this summer to study with her idols Anna Mlasowsky and Matthew Szösz. After that, she sees herself continuing her glass exploration by learning from others and cultivating any opportunity that presents itself. “Relationships will make the difference and I am excited about the future.”

lonikimber@gmail.com

 

Legere, Angela. Yvonne (2016), fused glass body cast, 19”H x 14” W (Photo: Angela Legere)

Legere, Angela. Yvonne (2016), fused glass body cast, 19”H x 14” W (Photo: Angela Legere)

 

Legere, Angela. Nesting Bowls (2016), cast glass, Set of 3 – 6”D, 8”D, 10”D. (Photo: Angela Legere)

Legere, Angela. Nesting Bowls (2016), cast glass, Set of 3 – 6”D, 8”D, 10”D. (Photo: Angela Legere)

 

Angela Legere

After three years at Sheridan, exploring glass making in all its forms, Angela Legere found a passion for mold making. This technical and inherently reflective process provided an outlet for her work on gender equality and human rights issues. As a sharp observer of human nature, Angela explores these themes in her Fertility series with body castings of the female form. “From lovers’ hands and babies’ feet to full body torsos, I find capturing moments in time a very rewarding process.”

Although Angela no longer lives in British Columbia, her functional work is inspired by the natural beauty of the mountains and ocean she remembers from that time. She feels a similar sense of awe when she works with glass.

After graduation, Angela is looking forward to travelling. She hopes to further her understanding of the issues faced by those less fortunate and discover the common threads that connect us all. On her return, Angela will be moving her practice to South River, ON, where she has an opportunity to set up a small studio and where she will be able to provide classes for local enthusiasts.

www.legereglass.com

legereglass@gmail.com

 

Lepiez, Christian. Ninja Pendant (2016), flameworked borosilicate glass, 2” D. (Photo: Christian Lepiez)

Lepiez, Christian. Ninja Pendant (2016), flameworked borosilicate glass, 2” D. (Photo: Christian Lepiez)

 

Lepiez, Christian. Holy Balls (2016), flameworked borosilicate glass, various sizes from 3” to 6” D. (Photo: Christian Lepiez)

Lepiez, Christian. Holy Balls (2016), flameworked borosilicate glass, various sizes from 3” to 6” D. (Photo: Christian Lepiez)

 

Christian Lepiez

Christian Lepiez discovered glass during a co-op at Glen Williams Glass. Once at Sheridan, it was the technical expertise and precision required that attracted Christian to flameworking. He quickly improved his skills by first replicating the work of others and then finding a way to express his experiences, memories and passions through glass.

Christian’s approach is very meditative and zen-like. He believes that working with glass requires a truth to materials and being open to where it takes you. “I have a rough idea of what I want to do but I let the glass do its own thing.” Using only heat and gravity, he allows the glass to determine the direction. A favourite technique uses dot stacking to create pendants with spider dots, swirls and patterns in graphic colours, which are inspired by skateboard culture. Lace work is another area where he excels.

Christian intends to continue exploring flameworking at his small home studio. He looks forward to experimenting with new techniques and finding opportunities to incorporate recycled glass in his work.

www.lpzglass.bigcartel.com

lpzglass@hotmail.com

 

Leung, Phebe, Mitty Scolds Bitties (2016) Blown glass, hot sculpted, crocheted, 4.7”H  x 5.5”W x 10”D. (Photo: Phebe Leung)

Leung, Phebe, Mitty Scolds Bitties (2016) Blown glass, hot sculpted, crocheted, 4.7”H x 5.5”W x 10”D. (Photo: Phebe Leung)

 

Leung, Phebe, Feather Bowl (2016), blown glass, 3”H x 4”D. (Photo: Phebe Leung)

Leung, Phebe, Feather Bowl (2016), blown glass, 3”H x 4”D. (Photo: Phebe Leung)

Phebe Leung

Phebe Leung is a woman who embodies playfulness. This can be seen in everything from her hair accessories to her cell phone cover. But this playfulness is especially evident in her whimsical approach to glass. Named after her partner’s nickname, the Mitty series was inspired by both her partner and Phebe’s unique view of the world. “I don’t see people as people, I see them as animals—he seems like a chicken.”

Along with the Mitty series, Phebe enjoys deviating from the standard hot shop forms by creating three-sided vessels. She also delights in the simple beauty of the hot sculpted roses she creates and the blown bowls and paperweights that she finishes with a variety of sandblasting and coldworking techniques.

Phebe enjoyed the sense of community and teamwork that came from being at Sheridan. She feels Sheridan was time well-spent and is interested in returning to complete the bachelor’s program in the near future. In the meantime, she intends to rent studio space and focus on making fused pendants, other kiln cast forms and, with any luck, continuing the Mitty series.

leungph@sheridanc.on.ca

 

Nathan Lister

Nathan Lister doesn’t remember a time when he wasn’t interested in glass. Growing up near the Sandra Ainsley Gallery, he was exposed at an early age to the beauty of glass and the many ways it can be formed. He began his career with a home flameworking set-up before enrolling at Sheridan. Once at Sheridan, he continued working with a torch but soon discovered the hot shop and the possibilities of hot sculpting.

Nathan strives to mimic both the natural and mechanical worlds using symmetry and a variety of techniques such as heat sinks, concentric rings and repetition. He is currently exploring pushing Marias and the attractive effects that can be obtained with repeating these rings—forms that can simulate both bamboo and industrial glass insulators. Nathan also enjoys exploring form in everything from paperweights to jewelry, beads and other items, which he creates in flameworking. To expand his techniques, he works on unique hot sculpted objects, which can vary from aliens to sharks.

Nathan finds the process and production of glass work enjoyable. He will continue to refine his skills and seek new techniques as he ramps up his home studio.

nathanlister1@gmail.com

 

Lozanovski, Lila. Satori 5.2 (2014), float glass, cotton thread, 9.8”H x 13.75”W. (Photo: Jade Chittock)

Lozanovski, Lila. Satori 5.2 (2014), float glass, cotton thread, 9.8”H x 13.75”W. (Photo: Jade Chittock)

 

Lozanovski, Lila. Rose Bowl (2015), kiln cast glass, 5.5”H x 4.75”D x 4.75”W. (Photo: Lila Lozanovski)

Lozanovski, Lila. Rose Bowl (2015), kiln cast glass, 5.5”H x 4.75”D x 4.75”W. (Photo: Lila Lozanovski)

 

Lila Lozanovski

Lila Lozanovski’s passion for glass is fed by the act of making. The process provides her an opportunity for quiet introspection and the freedom to delve into the question of why she feels compelled to create. The work provides comfort and inevitably becomes a marker of her state of mind at that moment. Although Lila currently focuses on kiln and sandcasting, she refuses to be limited by the use of specific materials in her search for answers.

A large part of Lila’s work incorporates roses—sometimes formed in clear glass, other times designed as a multi-hued carpet of blooms—and pedestals, which signify an openness, a desire to share and also a form of respect for the preciousness of the objects held within the bowls. The roses that proliferate to form bowls and bases are crafted by hand-rolling wax into shape. The marks left by her hands are a reminder that beauty lies in imperfection. Unlike the ephemeral moments of our lives, Lila’s roses permanently remain at their peak.

Lila has big plans for the future. First, she is heading to Pilchuck this August for a class with Bryan Jablonski, a glass fabrication specialist. Next, Lila has accepted the role of Teaching Assistant at Sheridan for the 2016/2017 year. But she is most excited about her future plans that include a studio designed as a community hub. Her dream is to engage with the community and other like-minded artists to build a truly unique live/work space where she can collaborate and spend time unleashing the full potential of her creativity. “I don’t want to stop making.”

lilaanks@yahoo.com

 

Walsh, Collin A.G. Kameosa (Sake Set), (2016), flameworked borosilicate glass, Bottle - 10”H x 1 - 2.25”D, Glasses - 2.5”H x 2.5”D. (Photo: Chace Diargino)

Walsh, Collin A.G. Kameosa (Sake Set), (2016), flameworked borosilicate glass, Bottle – 10”H x 1 – 2.25”D, Glasses – 2.5”H x 2.5”D. (Photo: Chace Diargino)

 

Walsh, Collin A.G. Head Shots, (2014-15), flameworked borosilicate glass, various from 1” – 2.5”H x .75”D. (Photo: Nicholas Driver)

Walsh, Collin A.G. Head Shots, (2014-15), flameworked borosilicate glass, various from 1” – 2.5”H x .75”D. (Photo: Nicholas Driver)

 

Collin Walsh

Collin Walsh is an introspective flameworker who feels that a study of glass provides greater benefits than just the skills learned. As cliché as it sounds, he believes the Sheridan Glass program made him a better person. “I am grateful for Koen [Vanderstukken – Sheridan Glass Studio Head and professor] and Brad [Sherwood – flameworking instructor]. They shaped me as a flameworker but also as a human being and how I see the world.”

Collin was immersed in handcraft from a young age. His mother was a dressmaker, his maternal grandfather was a woodworker and painter and his paternal grandfather was a metalsmith. With an interest in the heritage of craftsmanship, Collin strives to recreate traditional forms with a contemporary twist that manifest from his fascination of the mysterious, mystical, bizarre and surreal. He populates his work with the absurd, such as ghouls and goblins, and brings them to life with his painterly approach to colour.

Collin foresees a gratifying future spent trying to convey his understanding of the world through his glass practice. He will continue his journey at his home flameworking studio.

collinwalsh.cw@gmail.com

www.unclethrasher.bigcartel.com

 

Yule, Max. Glass Flora (2016), hot sculpted glass and cement, 18”H x 18”W x 18”D. (Photo: Max Yule)

Yule, Max. Glass Flora (2016), hot sculpted glass and cement, 18”H x 18”W x 18”D. (Photo: Max Yule)

 

Yule, Max. Untitled (2016), hot sculpted glass welded frame, 20”H x 18”W x 18”D. (Photo: Max Yule)

Yule, Max. Untitled (2016), hot sculpted glass welded frame, 20”H x 18”W x 18”D. (Photo: Max Yule)

Max Yule

Max Yule came to glass because of beer. His interest was first piqued when he watched a colleague at the small brewery where he worked craft drinking cups from the beer bottles. This discovery led to a journey that saw Max move from bead making to a semester-long hotshop program at Haliburton School of the Arts and then on to Sheridan.

His current work focuses on sculptural hanging pieces created in the hot shop and flameworking objects that embrace a scientific aesthetic, which harkens back to his days at the brewery. He is fascinated by everything from the bubbling processes that occur during lab experiments to lab tools and other industrial materials. He intends to merge his two aesthetics into work that redefines the notion of what a chandelier is.

Max is first and foremost a pragmatist. He enjoys both the process and the challenge of working in glass but it is his realization that glass artists need supportive environments in order to flourish that is the driving force behind his latest project. He is in the midst of creating a live/work space in Oshawa for flameworkers with an expected launch date later this year. This type of forward-thinking will ensure there are opportunities for artists to continue to explore glass both today and in the future.

maxcyule@hotmail.com

 

Authors Biography:

Paola Crossley is thrilled to be part of the first group of students in the Sheridan Bachelor of Craft and Design program. She is will be entering her third year of the four-year program this fall.

 

Une époque qui se termine bien: L’ultime promotion du diplôme d’études collégiales en métiers d’art et design –  option verre) du Sheridan College  

Auteur: Paola Crossley

L’année 2016 sera la toute dernière année où des étudiants obtiendront leur diplôme d’études collégiales en métiers d’art et design, option verre, du Sheridan College. Le collège a été une pierre de touche pour la communauté du verre depuis le lancement de cette option en 1969. Personne n’aurait pu prédire la longévité du programme ni la nouvelle direction que le collège a adoptée, il y a deux ans déjà, en créant un programme de baccalauréat en métiers d’art et design. Ce changement s’est concrétisé par une approche pluridisciplinaire et l’ajout d’une quatrième année d’études.

Je suis une des étudiantes de ce nouveau programme, mais tout comme le reste de ma cohorte, je suis extrêmement reconnaissante à ceux et celles qui m’ont précédée.

Dans un autre groupe, il y aurait peut-être eu de la discorde entre les deux factions. Pas dans notre cas. En première année, nous étions probablement un peu embêtants, comme de jeunes frères et sœurs voulant suivre à tout prix. Mais les étudiants de troisième année (comme on aime bien les appeler) se sont montrés patients! Ils nous ont encouragés et soutenus comme l’auraient fait des aînés de famille plus sages. Chacun d’entre eux, à sa façon, a laissé sur nous son empreinte.

Pour cet article, j’ai eu le privilège d’interviewer chaque étudiant diplômé. Avant cela, si vous m’aviez demandé si je les connaissais, j’aurais répondu que oui. En réalité, les entrevues m’ont montré que je savais peu de choses à leur sujet. J’ai appris ce qui les avait incités à travailler le verre, ce qui les avait inspirés et quels étaient leurs espoirs et leurs rêves pour l’avenir.

Certains d’entre eux travaillent au chalumeau, d’autres sont des passionnés de l’atelier de verre à chaud et d’autres encore préfèrent le coulage dans le sable et le moulage dans les fours. Chacun a sa façon unique d’aborder le matériau, mais ce qu’ils ont tous en commun c’est une passion pour le verre, un engagement envers l’excellence et le désir de simplement continuer à y travailler. Je vous invite donc à prendre le temps de lire leurs profils d’artiste et à les découvrir tout comme je l’ai fait – en tant que professionnels qui entament leur carrière dans le merveilleux monde du verre.

Cator, Will. Motorcycle (2016), borosilicate glass, 7”H x 3”W x 10”D. (Photo: Will Cator)

Cator, Will. Motorcycle (2016), borosilicate glass, 7”H x 3”W x 10”D. (Photo: Will Cator)

Crozier, Geoff. Untitled Vase (2016), Incalmo, murrini roll-up, 13”H x 7.5”W x 5”D. (Photo: Chace Giardino)

Crozier, Geoff. Untitled Vase (2016), Incalmo, murrini roll-up, 13”H x 7.5”W x 5”D. (Photo: Chace Giardino)

Crozier, Geoff. Untitled Bowl (2016), sculpted flower hot attached to blown bowl, 6”H x 9”D. (Photo: Chace Giardino)

Crozier, Geoff. Untitled Bowl (2016), sculpted flower hot attached to blown bowl, 6”H x 9”D. (Photo: Chace Giardino)

Davis, Melani. The Rose (2014), kiln cast glass, 15”H x 5.5”W x 2.5”D. (Photo: Melani Davis)

Davis, Melani. The Rose (2014), kiln cast glass, 15”H x 5.5”W x 2.5”D. (Photo: Melani Davis)

Davis, Melani. Rough Water (2016), fused glass, 18”H x 28”W. (Photo: Melani Davis)

Davis, Melani. Rough Water (2016), fused glass, 18”H x 28”W. (Photo: Melani Davis)

Di Mascio, Eric. Currents (2016), glass, canvas, 72”H x 24”W. (Photo: Calyssa Erb)

Di Mascio, Eric. Currents (2016), glass, canvas, 72”H x 24”W. (Photo: Calyssa Erb)

Di Mascio, Eric. Phantom Limb Calf, (2016), cast glass, prosthetic thigh and foot, 20"H x 5"W x 5”D. (Photo: Eric Di Mascio)

Di Mascio, Eric. Phantom Limb Calf, (2016), cast glass, prosthetic thigh and foot, 20″H x 5″W x 5”D. (Photo: Eric Di Mascio)

Fayad, Hannan. Untitled (2016), blown glass, sandblasted, 11” H x 11” D. (Photo: Hannan Fayad)

Fayad, Hannan. Untitled (2016), blown glass, sandblasted, 11” H x 11” D. (Photo: Hannan Fayad)

Ferguson, Reid. Jacob Street (2016), fused glass and concrete, 2.5”H x 10.25”D. (Photo: Reid Ferguson)

Ferguson, Reid. Jacob Street (2016), fused glass and concrete, 2.5”H x 10.25”D. (Photo: Reid Ferguson)

Ferguson, Reid. KW Railroad Set- (left to right) King and Victoria, Strange Street, Westmount and Westwood, (2016), fused glass and concrete, 2.75”H x 8.25”D. (Photo: Reid Ferguson)

Ferguson, Reid. KW Railroad Set- (left to right) King and Victoria, Strange Street, Westmount and Westwood, (2016), fused glass and concrete, 2.75”H x 8.25”D. (Photo: Reid Ferguson)

Ireson, Dani. Segment (2016), sandcast, graphite cast, and laminated glass, 15” H x 2.75” W x 2.75” D. (Photo: Rachelle Ireson)

Ireson, Dani. Segment (2016), sandcast, graphite cast, and laminated glass, 15” H x 2.75” W x 2.75” D. (Photo: Rachelle Ireson)

Ireson, Dani. Soft Mountain (2016), laminated float glass and stone, 4” H x 3.5” W x 1.5” D. (Photo: Rachelle Ireson)

Ireson, Dani. Soft Mountain (2016), laminated float glass and stone, 4” H x 3.5” W x 1.5” D. (Photo: Rachelle Ireson)

Kimber, Loni. in(FINITE) (2016), blown glass, concrete, 27.5” H x 5.7” W x 6.5”D. (Photo: Loni Kimber)

Kimber, Loni. in(FINITE) (2016), blown glass, concrete, 27.5” H x 5.7” W x 6.5”D. (Photo: Loni Kimber)

Legere, Angela. Yvonne (2016), fused glass body cast, 19”H x 14” W (Photo: Angela Legere)

Legere, Angela. Yvonne (2016), fused glass body cast, 19”H x 14” W (Photo: Angela Legere)

Legere, Angela. Nesting Bowls (2016), cast glass, Set of 3 – 6”D, 8”D, 10”D. (Photo: Angela Legere)

Legere, Angela. Nesting Bowls (2016), cast glass, Set of 3 – 6”D, 8”D, 10”D. (Photo: Angela Legere)

Lepiez, Christian. Ninja Pendant (2016), flameworked borosilicate glass, 2” D. (Photo: Christian Lepiez)

Lepiez, Christian. Ninja Pendant (2016), flameworked borosilicate glass, 2” D. (Photo: Christian Lepiez)

Lepiez, Christian. Holy Balls (2016), flameworked borosilicate glass, various sizes from 3” to 6” D. (Photo: Christian Lepiez)

Lepiez, Christian. Holy Balls (2016), flameworked borosilicate glass, various sizes from 3” to 6” D. (Photo: Christian Lepiez)

Leung, Phebe, Mitty Scolds Bitties (2016) Blown glass, hot sculpted, crocheted, 4.7”H  x 5.5”W x 10”D. (Photo: Phebe Leung)

Leung, Phebe, Mitty Scolds Bitties (2016) Blown glass, hot sculpted, crocheted, 4.7”H x 5.5”W x 10”D. (Photo: Phebe Leung)

Leung, Phebe, Feather Bowl (2016), blown glass, 3”H x 4”D. (Photo: Phebe Leung)

Leung, Phebe, Feather Bowl (2016), blown glass, 3”H x 4”D. (Photo: Phebe Leung)

Lozanovski, Lila. Satori 5.2 (2014), float glass, cotton thread, 9.8”H x 13.75”W. (Photo: Jade Chittock)

Lozanovski, Lila. Satori 5.2 (2014), float glass, cotton thread, 9.8”H x 13.75”W. (Photo: Jade Chittock)

Lozanovski, Lila. Rose Bowl (2015), kiln cast glass, 5.5”H x 4.75”D x 4.75”W. (Photo: Lila Lozanovski)

Lozanovski, Lila. Rose Bowl (2015), kiln cast glass, 5.5”H x 4.75”D x 4.75”W. (Photo: Lila Lozanovski)

Walsh, Collin A.G. Kameosa (Sake Set), (2016), flameworked borosilicate glass, Bottle - 10”H x 1 - 2.25”D, Glasses - 2.5”H x 2.5”D. (Photo: Chace Diargino)

Walsh, Collin A.G. Kameosa (Sake Set), (2016), flameworked borosilicate glass, Bottle – 10”H x 1 – 2.25”D, Glasses – 2.5”H x 2.5”D. (Photo: Chace Diargino)

Walsh, Collin A.G. Head Shots, (2014-15), flameworked borosilicate glass, various from 1” – 2.5”H x .75”D. (Photo: Nicholas Driver)

Walsh, Collin A.G. Head Shots, (2014-15), flameworked borosilicate glass, various from 1” – 2.5”H x .75”D. (Photo: Nicholas Driver)

Yule, Max. Glass Flora (2016), hot sculpted glass and cement, 18”H x 18”W x 18”D. (Photo: Max Yule)

Yule, Max. Glass Flora (2016), hot sculpted glass and cement, 18”H x 18”W x 18”D. (Photo: Max Yule)

Yule, Max. Untitled (2016), hot sculpted glass welded frame, 20”H x 18”W x 18”D. (Photo: Max Yule)

Yule, Max. Untitled (2016), hot sculpted glass welded frame, 20”H x 18”W x 18”D. (Photo: Max Yule)

 

Biographie de L’auteur: 

Paola Crossley est très contente de faire partie du premier groupe d’étudiants au programme de baccalauréat en métiers d’art et design du Sheridan College. Elle entamera la troisième année de son programme de quatre ans à l’automne.

 

Share

Student Help: From the Archives Spring 2004

Author: Benjamin Kikkert

 

As the promise of spring draws near, the idea of how to spend the summer is crossing hundreds of glass students’ minds. What to do? Where do all the glass people live in the summer?

Well, maybe they live right next door. Glass students come from right across North America. From Vancouver to Montreal to Texas, there are students wondering what they can do after school. How do they carry their passion for glass away from an institutional environment and apply it in the “real” world? This is where seeing it done by an established professional could be a real help. Hello GAAC membership, anyone out there?

Some great advice I’ve received is to get out and see as many different glass studios as possible. The variety of approaches and the openness of the people I’ve encountered in these situations have been astounding. Although I study at Sheridan in Ontario, at the GAAC conference in Toronto and at the GAS conference in Seattle last summer, I met dozens of friendly (and totally off the wall) Canadian glass people I had no idea were around at all. It’s one thing to hear about it, it’s quite another thing to meet people actually doing it every day. I gained an appreciation for a glass “family” that I didn’t know I even had!

On behalf of glass students across the country, can we meet you people? Hello! We’re a pretty keen bunch, you know—educated—and we’re right next door! Opening your studio for a student to see would be a great way to meet the people who are going to be working around you for years to come. And who knows? Maybe you could use some summer help. Or were you looking forward to cold working through July? Students are in this because we love it and maybe some of that enthusiasm can help you out. We are keenly aware that the learning doesn’t end when we finish our courses. Sharing your experience with a student could provide a valuable experience for both parties. You might be surprised at how interested we are in hearing what you’ve learned as you “got to know the ropes” of this glass thing. Ever considered hiring an apprentice? Maybe it’d be nice to find some help that understands that a punty is something other than a kick in the bum!

So get to know us! Contact your Canadian glass schools, from wherever you are and get to know the young glass workers who are emerging today. In the next issue of this magazine, we will be introducing the graduating class of 2004 from each major Canadian glass school. There could be a whole crop of qualified, dedicated individuals just waiting to work with you! Whether an introduction, a summer job or a great opportunity for everyone to get to know each other better, let’s all be friends, okay?

See you this summer!

 

Student Help: From the Archives Spring 2004

Auteur: Benjamin Kikkert

 

Avec arrivée prochaine du printemps, les projets pour organiser l’été commencement à traverser l’esprit des étudiants verriers. Quoi faire? Et d’ailleurs, où vivent les artistes verriers pendant l’été?

Et bien, ils sont peut-être vos voisins. Les étudiants verriers viennent de partout à travers l’Amérique du Nord. Que ce soit de Vancouver, Montréal et même du Texas, il y a des étudiants qui se demandent ce qu’ils feront après leurs études. Comment transformer cette passion pour le verre apprise à l’école et l’appliquer dans la « vrai » vie? C’est alors que voir un professionnel à l’œuvre pourrait être très bénéfique. Hé, vous les membres du GAAC, y a-t-il quelqu’un à l’écoute?

Le meilleur conseil que j’ai reçu à date, c’est d’aller visiter le plus grand nombre possible d’ateliers professionnels. Les approches de travail sont variées et l’ouverture d’esprit des gens est étonnante. Bien que je sois étudiant au Collège Sheridan en Ontario, j’ai fait la connaissance, aux conférences du GAAC à Toronto et du GAS à Seattle l’été dernier, de douzaines de verriers canadiens, aimables et quelquefois excentriques dont j’ignorais l’existence. C’est une chose d’en entendre parler, mais c’est plus stimulant de prendre contact directement avec ces gens. J’ai enfin pris conscience d’une « famille » que j’ignorais avoir!

De la part de tous les étudiants canadiens, pourrait-on vous rencontrer? Nous sommes un groupe enthousiasmé vous savez, bien éduqué qui vit près de chez vous! En laissant entrer un étudiant dans votre atelier, vous courrez la chance de rencontrer quelqu’un de bien qui va sans doute un jour travailler dans votre entourage. Qui sait? Vous avez sûrement besoin d’un stagiaire pendant l’été. Espériez-vous faire du verre à froid tout le mois de juillet? Nous étudions le verre parce que nous aimons ça, alors cet enthousiasme pourrait peut-être vous être utile? Nous sommes conscient que l’apprentissage ne s’arrête pas avec la fin des cours. Le partage de vos expériences pourrait créer un échange stimulant pour nous tous. Nous sommes très intéressés à tout connaître de votre propre cheminement et de votre perfectionnement de l’art verrier.

Avez-vous pensé d’embaucher un stagiaire? Quelqu’un qui sait déjà à quoi sert un pontil. Apprenez à nous connaître! Contactez l’une des écoles canadiennes de verre, peu importe où vous étés aujourd’hui. Lors du prochain numéro du Verre Contemporain Canadien, nous ferons la présentation de diplômés 2004 des qualifies, dédiés qui ne demandent qu’a travailler avec vous! Que ce soit par une rencontre, un stage d’été ou de longue durée, c’est le bon moment pour se connaître mutuellement. Soyons tous des amis, d’accord?

On se voit cet été?!

Share

Informed by History but Not Bound by Tradition, ACAD Launches an MFA in Craft Media

June 22, 2015

by Bev Rodgers

 

 

Rodgers_ Informed by History but Not Bound by Tradition.jpg 
(L-R) Natali Rodrigues, Marty Kaufman, Tyler Rock. Andy Nichols Photographer

Rodgers_ Informed by History but Not Bound by Tradition.jpg 
(L-R) Natali Rodrigues, Marty Kaufman, Tyler Rock. Andy Nichols Photographer

 

Imagine a boy peering over the edge of a boat as it floats silently above the shifting, crystalline depths of an Arctic lake.

 

I had the pleasure of sharing an afternoon recently with Tyler Rock (the boy in the boat) and his teaching colleagues in the ACAD Glass program, Natali Rodrigues and Marty Kaufman. The intent was to investigate the history of glass at ACAD, where they are all respected faculty members. The conversation, however, was wide-ranging, as these three are well travelled. We touched upon the pivotal axis of place, of movement and rootedness and of influences both personal and professional.

 

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes Andy Nichols Photographer

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes Andy Nichols Photographer

 

ACAD is launching an MFA in Craft Media in September 2015. It seems a good time to acknowledge, as Marty puts it, “the shoulders we stand on.” I was curious about their shared experiences as students of Norman Faulkner. Norm was the founder of the ACAD Glass program in 1974. He headed up the department for 30 years, while also developing a significant reputation as a pioneer of the studio glass movement in Canada and beyond.

 

Marty, Tyler and Natali represent three generations of Norm’s 30 year teaching career. Far too individualistic to ever be considered disciples, the antithesis of Norm’s approach, they are each in their way, stewards of a particular ethos that took root in Glass at ACAD in the ‘70s and still flourishes to this day. It is an ethos of risk-taking, exploration, conceptualization and experimentation; of being disciplined enough to fly without a net.

 

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes Andy Nichols Photographer

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes Andy Nichols Photographer

 

As highly skilled and experienced glass artists, all three are well-equipped to support students in their technical development. However, they all agree that success does not have to fall within the context of a single medium. Perhaps it is the mercurial nature of the material itself that fuels this pluralistic and inclusive approach.

 

The diversity of valued personal mentorship experiences within this group is telling. Natali references painter Bill MacDonnell and interdisciplinary artist Vera Gartley as having revolutionized her thinking. For Marty, who was apprenticing in a stone-carving atelier in Paris at age nineteen, it was with sculptor Katie Ohe that he found a spiritual home as a student. He cites her boundless generosity and level of commitment to practice as a great example to us all. Tyler retains a deep appreciation for the ways that print artist Ken Webb challenged him to re-think process, recalling the joy that Ken demonstrated when encountering work he responded to.

 

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes Andy Nichols Photographer 05.Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes Andy Nichols Photographer 06.	Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes (Sign above Hot shop says “Light” by Alumni David Blankenstyn (BFA Glass 2010) Andy Nichols Photographer

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes Andy Nichols Photographer

 

Our conversation circled back to the link between travel and education and the role it continues to play for all three. As a child, Natali lived all over the world. Inspired by the richness of a migratory experience and grandparents who were cartographers, she has walked the Camino Trail to connect to family history and explore faith. Her current research interests are situated at the intersection of silence and liminality. Marty, who sojourned Europe from ages 18-24, spends summers working in Rome.  This international experience is pivotal, fueling him as an artist and a teacher. Carving and sandblasting undulating forms, he subverts and disrupts the material, challenging notions of strength, fragility and beauty.

 

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes Andy Nichols Photographer

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes Andy Nichols Photographer

 

Raised by a wildlife biologist, Tyler spent his youth in Northern Saskatchewan and his summers in the Arctic Circle. The effect of infinite space occupies him. Interpretation of landscape and its relationship to the natural world is in his DNA. After a recent prolonged stay in Australia, he explores the capacity for an object to affect space and activate an experience.

 

Gifted and generous teachers at their core, Natali, Tyler and Marty are quick to share stories of alumni living and working all over the world, redefining glass as a contemporary material.

 

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes (Sign above Hot shop says “Light” by Alumni David Blankenstyn (BFA Glass 2010) Andy Nichols Photographer

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes (Sign above Hot shop says “Light” by Alumni David Blankenstyn (BFA Glass 2010) Andy Nichols Photographer

 

With additional support from teaching colleagues like Jim Norton and Rob Lewis, studio technicians and practicing glass artists Mark Gibeau and Lisa Cerny and a roster of visiting artists, the Glass department thrives. It is, in Norm’s words “informed by history, but not bound by tradition.” All those who resist prescriptive outcomes, value deep engagement and embrace curiosity are welcome to the table.

 

MFA Applications are now open. http://www.acad.ca/mfa.html

 

 

 

« Lié par le passé mais pas dépendant de ses traditions », l’ACAD lance un MFA en Craft Media

par Bev Rodgers

 

 

Rodgers_ Informed by History but Not Bound by Tradition.jpg 
(L-R) Natali Rodrigues, Marty Kaufman, Tyler Rock. Andy Nichols Photographer

Rodgers_ Informed by History but Not Bound by Tradition.jpg 
(L-R) Natali Rodrigues, Marty Kaufman, Tyler Rock. Andy Nichols Photographer

 

Imaginez-vous un petit garçon accoudé au bord d’un bateau tandis qu’il dérive lentement, bercé par les eaux cristallines d’un lac en antarctique.

 

J’ai eu la joie de passer récemment un après-midi avec Tyler Rock (le garçon du bateau) et ses collègues enseignants du programme verre de l’ACAD, Natali Rodrigues et Marty Kaufman. L’idée était de conduire des recherches sur l’histoire du verre à l’ACAD, où tous sont des membres reconnus du corps enseignant. La conversation a cependant pris un tournant plus large, car ils sont tous les trois roulé leur bosse. Nous avons abordé la question de l’impact du lieu, du voyage et des origines, ainsi que des influences à la fois personnelles et professionnelles.

 

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes Andy Nichols Photographer

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes Andy Nichols Photographer

 

L’ACAD va démarrer un MFA en Craft Media en Septembre 2015. Cela semble être le bon moment pour faire une rétrospective sur «les piliers sur lesquels nous marchons », tel que le dit Marty. J’étais curieux de partager avec eux leurs expériences en tant qu’étudiants de Normal Faulkner. Norm est le fondateur du programme verre de l’ACAD en 1974. Il a tenu le département pendant 30 ans tout en se construisant la réputation grandissante d’être le pionnier du mouvement des ateliers verriers au Canada et au-delà.

 

Marty, Tyler et Natali forment trois générations de la carrière d’enseignant de Norm. Trop individualistes pour se considérer disciples, l’antithèse de l’approche de Norm, ils sont chacun à leur façon, les ambassadeurs d’une philosophie distincte qui a germé à l’ACAD dans les années 70 et perdure encore de nos jours. C’est un état d’esprit encourageant la prise de risques, l’exploration, la conceptualisation et l’expérimentation, le fait d’être suffisamment rigoureux pour pouvoir voler sans filet.

 

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes Andy Nichols Photographer

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes Andy Nichols Photographer

 

En tant qu’artistes expérimentés et compétents dans le verre, tous trois ont les équipements nécessaires pour aider leurs étudiants à progresser techniquement. Tous conviennent que la réussite n’est pas forcément due au travail d’un seul matériau. Parfois c’est la nature changeante du matériau lui-même qui suscite cette approche pluraliste et entière.

 

La diversité des expériences personnelles au sein du groupe auprès de mentors reconnus nous parle d’elle-même. Natali cite le peintre Bill MacDonnell et l’artiste pluridisciplinaire Vera Gartley pour avoir révolutionné son mode de penser. Marty, lui, nous parle de la sculptrice Katie Ohe chez qui il a été apprenti à Paris à l’âge de 19 ans, et qui lui a fourni une maison spirituelle. Il nous parle de sa générosité infinie et de son fort engagement comme exemple pour tous. Tyler garde en souvenir la façon dont l’artiste en impressions Ken Webb l’a challengé pour repenser ses façons de procéder et la joie de Ken lorsqu’il voyait les œuvres qui en découlaient.

 

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes Andy Nichols Photographer 05.Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes Andy Nichols Photographer 06.	Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes (Sign above Hot shop says “Light” by Alumni David Blankenstyn (BFA Glass 2010) Andy Nichols Photographer

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes Andy Nichols Photographer

 

Notre discussion revint au lien entre le voyage et l’éducation, à ce que cela continue de leur apporter. Enfant, Natali a habité dans le monde entier. Inspirée par la richesse de cette expérience migratoire et de l’historique de ses grands-parents cartographes, elle a fait le pèlerinage de St Jacques de Compostelle pour retrouver ses origines familiales et explorer sa foi. Ses centres d’intérêts actuels portent sur l’intersection entre le silence et la liminalité. Marty a séjourné en Europe de 18 à 24 ans et passe ses étés à Rome. Cette expérience est fondamentale et l’inspire en tant qu’artiste et enseignant. La gravure et le sablage de formes ondulées lui permet de questionner le matériau, de challenger les notions de force, de fragilité et de beauté.

 

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes Andy Nichols Photographer

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes Andy Nichols Photographer

 

Eduqué par un biologiste de la nature, Tyler a passé son enfance en Saskatchewan du nord et ses étés au cercle polaire. L’impact de l’espace infini occupe son esprit. L’interprétation des grands espaces et sa relation à la nature est dans ses gènes. Après un séjour prolongé en Australie, il explore à présent la capacité d’un objet à occuper l’espace et à générer une expérience.

 

Natali, Tyler et Marty sont des enseignants généreux et doués qui partagent volontiers leur histoire en tant qu’anciens élèves ayant parcouru et travaillé dans le monde entier, remettant le verre au gout du jour.

 

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes (Sign above Hot shop says “Light” by Alumni David Blankenstyn (BFA Glass 2010) Andy Nichols Photographer

Rodgers_ Informed by History but Not Bound by Tradition.jpg
Hot Shop – cold but ready, behind the scenes (Sign above Hot shop says “Light” by Alumni David Blankenstyn (BFA Glass 2010) Andy Nichols Photographer

 

Avec le soutien additionnel de collègues enseignants tels que Jim Norton et Rob Lewis, les techniciens d’ateliers et les artistes verriers Mark Gibeau et Lisa Cerny ainsi que toute une foule d’artistes intervenants, le département du verre prospère. Tel que le dit Norm, il est « lié à son passé mais pas dépendant de ses traditions ». Tous ceux qui combattent la normalité, sont profondément dévoués et curieux d’esprit, sont les bienvenus.

 

Les candidatures pour postuler au MFA sont à présent ouvertes : http://www.acad.ca/mfa.html

 

 

Share

Canadian Glass School Comparison

June 15, 2014

by Katrina Brodie

 

 

For this year’s education issue we interviewed representatives at the three Canadian schools with glass programs so that our readers can compare and contrast them.   Answering our questions were:  from the Alberta College of Art + Design (ACAD), Natali Rodrigues; from Sheridan College (SC), Koen Vanderstukken; and from Espace Verre (EV), Christian Poulin.

 

 

Espace Verre Studio

Espace Verre Studio

 

Sheridan Studio

Sheridan Studio

 

 

Q1: What is the duration of your glass program?

 

ACAD: Four years for a BFA, twenty months for an MFA (first applicants begin in 2015).

 

SC: Four years.

 

EV: Three years.

 

Q2: What accreditation is awarded to graduates?

 

ACAD: Bachelor of Fine Arts.

 

SC: Bachelor of Craft and Design.

 

EV: Graduates receive a College Studies Diploma (DEC) (between High School and University).

 

Q3: How many students are admitted yearly?

 

ACAD: Twelve to the major.

 

SC: Up to about twenty students.

 

EV: We can have up to fifteen students in first year.

 

Q4: Typically, how many students graduate?

 

ACAD: Ten to twelve.

 

SC: Could be anywhere from five to twenty, usually ten to fifteen.

 

EV: It’s always different, but usually it’s between six and ten graduates. This year there will be only two graduates because some of the students have dropped out and some have prolonged their program to more than three years.

 

Q5: Which disciplines of glass can students practice at your school?

 

ACAD: Various hot glass processes (blowing, casting, sculpting), cold forming (cold working, lamination, etc.), kiln forming (casting, fusing, slumping, pate de verre, etc.).

 

SC: Glass blowing, hot sculpting, sand casting, flame working, kiln casting, pâte-de-verre, slumping, fusing, laminating, engraving, sand blasting, cold working, electroplating, etc.

 

EV: We have all the facilities for blowing, kiln- and sand-castings, fusing, cold working, flame working, neon, painting on glass, molding, and drawing. The students have courses in all of these disciplines. Also, in the second and third year courses, they have the opportunity of combining more than one discipline. Apart from glass techniques, they have courses at the college in accounting, creativity, marketing, art and glass history, French grammar, and philosophy.

 

Q6: What is the mission of this program?

 

ACAD: The glass program is dedicated to the development of an inclusive environment, which fosters students who are creative, independent makers, and critical thinkers. We embrace the ideals inherent in creative production, on-going experimentation, research, and critical investigation.

 

SC: Innovation in craft, design and art practice.

 

EV: We’re a technical fine craft program, so we offer students the possibility to develop and create small series (functional and decorative) and one of a kind pieces (sculptural and exploration oriented). The students can work on both types of creations in order to reach different markets.

 

Q7: Who started the program, and in what year?

 

ACAD: Norman Faulkner, who opened the hot shop in 1975.  Casting began in 1983.

 

SC: Robert Held started the program in 1969.

 

EV: The program was started in 1989 by the school cofounders François Houdé and Ronald Labelle, with the support of a faculty of glass artists including Susan Edgerley, Élisabeth Marier, Donald Robertson, Michèle Lapointe, Laura Donefer, Michel Vincent, and many more. After many years, some of the graduates of the program have replaced instructors who have left to focus time on their own careers or fulfil other obligations in their lives. A new generation of glass artists are now teaching with the help of more experienced instructors. Since the first graduation of 1992, we have had 149 graduates. Almost half of them are still active in the glass community.

 

Q8: What makes your program different from others?

 

ACAD: The glass curriculum is team-taught through a collaborative approach to instruction. At points in the curriculum, teaching and learning involves the integration of majors at all levels for workshop-style input and critical dialogue. Student learning, creative production, and inquiry are carried out in an environment predicated on involvement, outreach and integration.

 

SC: As makers and designers, we use materials and ideas to transform environmental and human potential. Our ground-breaking curriculum, which offers industrial design alongside the classic studios of ceramics, furniture, glass and textiles, encourages students to integrate design thinking and hands-on experience.

Regardless of their area of concentration, students are involved in interdisciplinary projects and in the creation of diverse objects and experiences. They are exposed to a range of working methodologies and models of practice. These will include independent studio and contemporary art practice, the creation of objects and prototypes for industry, as well as entrepreneurial and/or e-commerce business.

Critical and conceptual abilities developed through individual and group critiques are a vital aspect of the learning experience. Supporting courses in areas like drawing, design, cultural studies, and digital technology, as well as business and professional practices, will prepare students for their career. Cooperative internships in relevant fields are tailored to individual needs.

In Sheridan’s Craft and Design degree program, students turn ideas into products, knowledge into substance, and passion into a career.

 

Sheridan College

Sheridan College

 

 

EV: First, ours is the only program offered in French in Canada, and we’re the only school of its kind in the province of Québec. We also cover a very large number of glass disciplines and encourage the students to combine them to create original pieces. The program also includes courses that help the graduate to build up their career, marketing and studios. After the program, graduates can apply to participate in the Fusion Studio, which gives them a maximum two-year access to a hot studio and a mentor at a lower cost in order to build up their products and market. Since the beginning of the Fusion Studio in 1993, seventy-four graduates have had this opportunity and forty-four of those are still active in the glass community.

 

 

Espace Verre Studio

Espace Verre Studio

 

 

 

Comparatif des Ecoles de Verre au Canada

par Katrina Brodie

 

 

Cette année pour notre article sur le thème de l’éducation, nous avons interrogé des représentants des trois écoles canadiennes qui proposent un programme verre, afin que nos lecteurs puissent les comparer.

Répondant à nos questions: Natali Rodrigues de l’Alberta College of Art + Design (ACAD); Koen Vanderstukken du Sheridan College (SC) et Christian Poulin de l’Espace Verre (EV).

 

 

Espace Verre Studio

Espace Verre Studio

 

Sheridan Studio

Sheridan Studio

 

 

Q1: Quelle est la durée du programme?

 

ACAD: Quatre années pour un BFA et vingt mois pour un MFA (les premiers candidats débuteront en 2015).

 

SC: Quatre ans.

 

EV: C’est un programme de trois ans.

 

Q2: Quel diplôme reçoit le finissant?

 

ACAD: Un Diplôme bachelor des beaux-arts

 

SC: Un Diplôme bachelor en arts et design

 

EV: Le finissant reçoit un Diplôme d’études collégiales (DEC).

Sheridan:

 

Q3: Combien d’étudiants peuvent être acceptés dans ce programme?

 

ACAD: Douze pour le major.

 

SC: Jusqu’à une vingtaine d’étudiants.

 

EV: Nous pouvons accepter jusqu’à 15 étudiants en première année.

 

Q4: Habituellement, combien de finissants complètent le programme?

 

ACAD: Entre dix et douze.

 

SC: Cela peut varier de cinq à vingt, en général entre dix et quinze.

 

EV: Nous avons en moyenne entre 6 et 10 finissants. Toutefois, cette année nous aurons deux finissants car plusieurs ont quitté ou font le programme en plus de trois ans.

 

Q5: Quelles techniques du verre les étudiants peuvent apprendre à votre école ?

 

ACAD: Différents procédés à chaud (soufflage, coulage dans des moules, sculpture), verre à froid (feuilletage, etc.), thermoformage (fusing, moulage, pâte de verre, etc.)

 

SC: Soufflage, sculpture à chaud, coulage au sable, travail au chalumeau, pâte de verre, thermoformage, fusing, feuilletage, gravure, sablage, travail à froid, plaques électriques, etc.

 

EV: Nous avons les installations pour enseigner toutes les techniques : soufflage, coulage (dans des moules et dans le sable), thermoformage, verre à froid, chalumeau et néon, peinture sur verre, moulage et dessin. En plus des cours de spécialisation, les étudiants ont des cours au collège de comptabilité, créativité, marketing, histoire de l’art et du verre, français et philosophie.

 

Q6: Quelle est l’orientation de votre programme?

 

ACAD: Le programme verre se concentre sur le développement d’un environnement spécifique, qui accompagne les étudiants créatifs, autonomes et dotés d’un esprit critique. Nous mettons en avant les principes inhérents à la créativité, l’expérimentation constante, la recherche et l’approfondissement critique.

 

SC: Innovation dans l’art, design et pratique de l’art.

 

EV: Nous sommes dans un programme de Techniques de métiers d’art. Les étudiants ont la possibilité de développer des créations de petites séries (fonctionnelles ou décoratives) et aussi des pièces uniques (sculpture et d’expression. Les étudiants peuvent travailler dans les deux orientations afin d’élargir les différentes niches de marché.

 

Q7: Qui a fondé votre programme et quand?

 

ACAD: Norman Faulkner, qui créa l’atelier en 1975.  Le moulage commença en 1983.

 

SC: Robert Held lanca le programme en 1969.

 

EV: Le programme a débuté en 1989 et les deux fondateurs de l’école François Houdé et Ronald Labelle se sont adjoints au cours des années plusieurs verriers dont Susan Edgerley, Élisabeth Marier, Donald Robertson, Michèle Lapointe, Laura Donefer, Michel Vincent et de nombreux autres. Depuis quelques années des finissants du programme prennent la relève de certains professeurs qui quittent l’enseignement pour se concentrer sur leur carrière ou pour d’autres raisons personnelles. Une nouvelle génération de verriers s’initie à l’enseignement avec la collaboration de professeurs plus expérimentés. Depuis la première cohorte de finissants en 1992, nous avons eu 149 finissants dont près de la moitié sont toujours actifs dans le domaine du verre.

 

Q8: Qu’est-ce qui distingue votre programme des autres? 

 

ACAD: Le programme verre se base sur une approche collaborative au travers un enseignement d’équipe. A certains moments du cursus, l’enseignement et l’apprentissage se font par la participation à des modules de différents niveaux pour un apport pratique en atelier et un dialogue critique. L’apprentissage, la création et les recherches sont menés dans un environnement fondé sur l’implication, le dépassement et l’intégration.

 

SC: En tant que créateurs et designers, nous utilisons des matières et des idées qui transforment le potentiel humain et environnemental. Notre cursus de base, où le design industriel côtoie les ateliers classiques de céramique, d’ébénisterie, de verre et textiles, encourage les étudiants à intégrer à leur réflexion design et expérience manuelle.

Indépendamment de leur matière principale, les étudiants sont sollicités pour des projets interdisciplinaires et  la réalisation de différents projets et expérimentations. Ils sont exposés à une variété de méthodes de travail et de modèles. Cela comprend des ateliers indépendants et la pratique d’arts contemporains, la réalisation d’objets et de prototypes destinés à l’industrie, ainsi que des cours d’entreprenariat et d’e-commerce.

Les capacités de critique et de conceptualisation qui se développent à travers les exercices en groupe et individuels constituent un aspect vital de l’apprentissage. En suivant des cours tels que le dessin, le design, les études culturelles et les technologies digitales, ainsi par des méthodes de commerce professionnelles, les étudiants sont préparés pour leur carrière. Des stages coopératifs dans les domaines concernés sont prévus sur mesure. .

Dans le programme Craft and Design de Sheridan, les étudiants transforment leurs idées en objets, leurs connaissances en substance, et leur passion en carrière.

 

Sheridan College

Sheridan College

 

 

EV: Premièrement, il s’agit du seul programme de verre en français au Canada et nous sommes la seule école dans cette discipline au Québec. De plus, nous enseignons de nombreuses techniques et encourageons les étudiants à combiner ces techniques pour créer des œuvres originales. Le programme comprend aussi des cours de gestion de carrière, d’atelier et de mise en marché. Après le programme, des finissants peuvent être choisis pour participer à l’atelier Fusion qui donne accès à un atelier de verre à chaud, à un taux préférentiel, durant un maximum de deux ans avec l’aide d’une mentor pour démarrer leur carrière et développer leurs produits. Depuis les débuts de l’atelier Fusion en 1993, 74 finissants ont eu ce privilège et 44 sont encore actifs dans le domaine du verre.

 

 

Espace Verre Studio

Espace Verre Studio

 

 

Share

Another Group of Grads Says Goodbye to Sheridan


by Becky Lauzon

 

Chicago trip 2013. Left to right Koen Vanderstukken, Ron Vincent, Rob Raeside, Megan Smith, Rommy Rodriquez, Shay Salehi, Becky Lauzon, Gabriela Wilson.

Chicago trip 2013. Left to right Koen Vanderstukken, Ron Vincent, Rob Raeside, Megan Smith, Rommy Rodriquez, Shay Salehi, Becky Lauzon, Gabriela Wilson.

 

It seems like yesterday that we were all sitting in the first year room at the back of the glass studio making small talk and attempting to get to know each other.  Now fast-forward three years and here I am forced to say goodbye to some of the most unique and amazing people who have since become my dysfunctional yet lovable family.

 

Apart from the forced holidays (summer and Christmas break) myself, Becky Lauzon, Rob Raeside, Shay Salehi, Gabriela Wilson, and Ron Vincent have done just about everything together.  We’ve gone to classes, we’ve eaten, we’ve created, and we’ve travelled together.  For instance, this past November, Koen Vanderstukken, Romy Rodriquez, Megan Smith (a returning graduate), myself, and my fellow classmates all crammed ourselves into a van and headed off to Chicago’s S.O.F.A together.  We spent our time exploring the city and building friendships on the dance floor of a locale blues bar, while forming bonds that will continue for years to come.  We weren’t a group that could ever be described as quiet.  You could always be certain to find one, if not all of us, blaring our music, working in our preferred areas within the studio.  If not in the studio, then you could find us working away in AA19 (our designated classroom) debating topics such as whether a machine that produces literal shit should be considered art or discussing one of our latest creative ideas with each other.  We were finding connections and inspirations through each other’s work and discussions, even though, throughout our three years at Sheridan, we all managed to find different ways to work with glass be that blowing, kiln casting, flameworking, engraving, or even spray painting.

 

As Sheridan prepares this September to welcome the first group of students into its new Bachelor of Arts program, it is also saying goodbye to a group of graduates leaving the school to head off on their own adventures.  As we begin opening up our own studios and/or moving on to new ones, or staying around for another year to help out the next batch of hopeful glass artists, you can be certain that the memories and friendships won’t be forgotten.

 

 

Lauzon, Becky. Lost Bowls (2014).

Lauzon, Becky. Lost Bowls (2014).

 

Becky Lauzon grew up in Cochrane, a small town in Northern Ontario.  Upon graduating high school, Becky attended Haliburton School of the Arts where she studied Artist Blacksmithing and Glassblowing, and received a diploma for Visual and Creative Arts.  From there, she continued her studies in glassblowing at Sheridan College in Oakville, Ontario. Currently, in her graduating year at Sheridan, Becky’s work deals with the conflict between urban and rural landscapes.  She uses mixed media and glass components to look into the continuous growth of the fast moving life of the city versus the slower pace and quiet of growing up in Northern Ontario.  Upon graduating, Becky plans to continue her exploration with glass and mixed media as a resident at Harbourfront Center in Toronto, Ontario.

 

 

Raeside, Rob. Bottle Caps (2014).

Raeside, Rob. Bottle Caps (2014).

 

Rob Raeside is a glass object maker who has been working with the medium for six years.  He has studied both at Sir Sanford Fleming College and Sheridan College.  In his second year of studies at Sheridan, he received the Silent Night award.  His dedication to the material has allowed him to work for Canadian glass artists such as Andy Kuntz, Paula Vandermey, Sally McCubbin, and Maciej Dyszkiewicz.  He has an upcoming full time job working for Alexi and Mariel Hunter.  Rob’s work is driven by the inherent complexities of what appears to be simple, and the constant desire to refine his technique.

 

 

Salehi, Shay. Organic: Brown (2014).

Salehi, Shay. Organic: Brown (2014).

 

When Shay Salehi was finishing high school, she had a desire to face new challenges by choosing to work with a medium she had no experience with:  glass.  After a couple years of exploring glass and discovering different processes of working with it, Shay began to find comfort in particular methods such as kiln casting and the pate de verre technique.  She enjoys the fragility of glass and its ability to mimic other materials.

Shay’s current body of work studies these qualities using line, shape, colour and texture formed by the pate de verre technique.  She fuses glass beads into pure and simple forms, which play with negative space and texture.  The lips on her bowls are rough, uncontrolled, and extremely fragile.  These bowls do not display the well-known properties of glass such as its transparency or optics; therefore, at first glance, one might not even consider these bowls as glass.

Shay recently graduated Sheridan College and received the Glass Art Association of Canada Project Grant. She is currently working on the development of her studio space.

 

 

Vincent, Ron. Scatterbot and Playtime (2014).

Vincent, Ron. Scatterbot and Playtime (2014).

 

Years ago, Ron Vincent pulled the plug on his engineering-oriented career path in order to pursue his creative efforts.  Unable to ignore his childhood passions of drawing, building, and storytelling, stagnant office environments disagreed with Ron’s inclinations.  He needed a more personal platform on which to let his ideas manifest.  Years spent accompanying his partner to Sheridan College’s ceramics studio led to inevitable exposure to the glass shop, sparking an interest that has grown into a passion.

 

The values instilled at early age through interaction with toys, comics, books, film, television, and video games are themes that fuel the projector in Ron’s mind. As developments occur in design-based technology, so does the integration with Ron’s methods of making and the passion he has for his work.  In this, Ron believes that he is closer to finding that happy middle ground for his inner child and the Ron that faces the big, scary world.

 

 

Wilson, Gabriela. Meniscus (2014).

Wilson, Gabriela. Meniscus (2014).

 

Gabriela Wilson is a Toronto-based artist, currently in her third year in the Craft and Design program at Sheridan College, with a major in glass blowing and a minor in kiln cast glass.  After working in the jewelry industry for several years, Gabriela returned to school to study glass arts in order to learn how to incorporate her two favorite materials, glass and metal.  To her delight, she has found that many aspects of her past studies in jewelry and gemology translate well into her new medium of glass.  Some of her focus has been spent on developing techniques to incorporate metals and glass in a hot state, producing a strong molecular bond. While still enjoying the different areas of the glass studio, her focus on her third and final year of study at Sheridan, so far, has been strongly on sculptural kiln cast objects. Gabriela’s work is influenced by the beauty and elegance of nature, sometimes with an added touch of dark humor or a personal narrative.  Her choice of materials gives her a perfect way to express her concepts.

 

 

Share
//