Featured Artist
Featured Artist
by Elizabeth Steinebach on March 10, 2010
Filed Under: NEWS
0 Comments
Permalink to this Article
GAAC Conference in Montreal, Canada
The Glass Art Association of Canada conference will be held in Montreal, CANADA, from May 26th-30th, 2010.
Please spread the news. High resolution poster available at [communication@espaceverre.qc.ca]
by Lucy Fayerman/ posted by elizabeth on March 10, 2010 Filed Under: NEWS
0 Comments
Permalink to this Article
Hello,
My name is Lucy Fayerman, and I am a Conference and Summer Programs Coordinator at UC Berkeley Conference Services.
I am writing to let you know that UC Berkeley hosts Summer Conferences every year, and we are interested in welcoming new groups to stay with us. I am researching arts related associations and organizations to host their conferences and workshops at UC Berkeley. Conference Services offers meeting space, accommodations, and meals for their participants. Please visit Conference Services page for more information: http://conferenceservices.berkeley.edu/summerconf index.html
Also, we run Summer Visitor Housing, which offers an affordable alternative to hotels for anyone who is visiting the Bay Area. Participants can make individual reservations, or we can book a room block for their stay. Please visit our SVH website for more information: http://conferenceservices.berkeley.edu/summervis index.html
If you are interested in holding an event in Berkeley or are just
visiting and need a place to stay in the summer, consider UC Berkeley.
Please feel free to contact me if you have any questions. Thank you for your time!
by Elizabeth Steinebach on March 10, 2010 Filed Under: NEWS
0 Comments
Permalink to this Article
There may be a few of the warm glass crowd visiting the AISG site, so here's some news for you. AISG received information from MABI Firenze, a glass technology and color group from Italy. Mario Mariani - is the contact person- info@mabifirenze.com. They have PDF catalogues of their products which include glass sticks, rods, confetti, spaghetti and 1000 flowers - Milfleur - and murrina rods and frits. They are a small business eager to ship abroad. Perhaps their products could find a way into some of your warm/hot glass work.
by James Robbins/posted by elizabeth on March 10, 2010 Filed Under: NEWS
0 Comments
Permalink to this Article
(This came in the AISG email box the other day - anybody nearby interested in the gallery or workshop space, should contact James, sounds like they are going to have a great facility.)
IDAHO ARTS COMMUNITY CENTER
Hello, we are opening Southern Idahos Largest Community Art Gallery On May 1st 2010 with the generous support of the Karcher Mall. We will have 9000 sq ft of space which will consist of an art gallery, a workshop area, a custom picture frame shop, and a gift shop. Some of your fellow artists have contacted us about having space within the Gallery and workshop area. I would like to discuss this with you. I can be reached at (208) 467-3643.
Sincerely,
James P. Robbins
by Elizabeth Steinebach on February 5, 2010 Filed Under: NEWS
0 Comments
Permalink to this Article
I decided to take a stained glass history course at the Jesuit College in Toronto. Not so much to really study the history, but to perhaps round out bits that I don't know anything about and more importantly to just get into a crowd of like-minded people to allow for inspiration and excitement at this still dark time of year. Sarah Hall, who has her lecturer cap on, is one of Canada's most well known stained glass artists, someone I've had to privilege to work for, so it is a delight to attend.
And it didn't take long to be reminded of something so familiar and yet so elusive that I have been in this delicious state of artistic agitation. The type of creative agitation that leads to new work, completely out of the usual scope. The work one does for one self, where budget and time are not in the formula.
The other bit of this unraveling is the knowing I have come across this material, sometime before. It's not new, but rather that ‘hmm' moment I had reading one of my stained glass books, a long time ago, and just thought interesting, but didn't know how to utilize it in the moment.
This time it was a kismet moment. Sarah's lecture was accompanied by her seemingly limitless images. So in hearing that which was already familiar, but seeing it dynamically portrayed in images was enough to take it to a deeper level. Of course now I cannot recall which book the reference I read was, but I have found a great posted article by Patrick Hunt, who can describe it much better. I've copied the important part here, but do go to the link and read the full article in context.
Patrick Hunt's
Abbé Suger and a Medieval Theory of Light in Stained Glass: Lux, Lumen, Illumination.
"…Suger could somehow parse three different Latin words for light: lux. lumen, illumination. He understood lux, external light as physical, coming from the sun and nature, especially light shining outside the cathedral. But once it entered through the window it was transformed into lumen, new metaphysical light because the glass, now both wall and sacred boundary functioned much like the ancient temenos threshold of a classical sanctuary or poemerium. On one external side it was ordinary and profane light that shone on everyone, even the heretic and the wicked (Matthew 5:45: "He makes the sun to rise on the evil and on the good") , but on the other internal side the light was now consecrated and holy. Because "In Suger's vision, light was the primary source of faith and divine inspiration", (12) this light was one agency of a powerful benevolent grace that fed the soul. (Isaiah 9:2, "the people who walked in darkness have seen a great light." The light inside the cathedral was mediated by the gemlike windows, and this transformed light took a third route: once it passed through the physical eye of the believer, it was changed once again into illumination, now a spiritual light that elevated the mind and renewed the spirit within as a metaphor for internal life-changing light (Ephesians 5:8, "Now are you light, walk as children of light; I Epistle of John 1:7, "Walk in the light as He is in the light."). Suger himself poetically described some of his windows, here the Burning Bush panel of the Moses window (Saint-Denis Abbey, North III): "Just as the bush is seen to burn yet is not consumed, So he who is full of the divine fire burns yet is not consumed."…"
I find this awe inspiring. And profoundly healing. That light is our common thread, regardless of our religion. The fact that Suger knew and understood this, back in his life time (1081 - 1151), just shows me how much I still have to learn and why I love glass so.
Lux, Lumen and Illumination reveals it all about stained glass. Glass can be ordinary clear window glass letting the natural light and nature be visible to the interior. Glass becomes a barrier to the elements of nature, protecting us from wind or rain or snow. But what happens to windows on the inside? Interior designers and home owners use textiles in many forms to control light, frame the window, create privacy and/or influence style. Not as many as I would hope, use stained glass to achieve the same results. And yet it is stained glass that can offer deeper relationship to our environment, where the colors transcend the window and splash across the floor or wall, to be experienced as Suger calls - illumination.
The question that begs discussion is - Can stained glass in a home attain that same mystical quality of illumination? And further, in this day of "instant" everything, from cell phones to macaroni and cheese, do we want or need this enduring quality in our homes?
The reason I ask this, is due to an unlikely convergence. We are still in January and I often buy a half dozen or so, of architectural, interior and/or garden design trend type magazines, to get a sense of where those markets are going for the upcoming year. In the February issue of Veranda, as I randomly flipped through the pages, my eye was caught by the quality of light on almost each and every page. The colors, textures and material accents all seemed to be trying to create more than a beautiful living environment. The windows were woefully unadorned without stained glass and yet many images try to have interesting light patterns reflected off of materials or pass through interesting architectural features creating fascinating shadows. A poor man's illumination?
Is the effect illumination?
There's no sapphire blue here. No reverend hushed tones. The space is not consecrated and yet the images definitely have a wonderful "feel" to them. Is the gem of our time clear and transparent like diamond? Is there a place for colored glass in these kind of environments? I certainly think so. Quality and elegance are sought after as furnishings, old, as in antiques are desirous. Stained glass is old as in having been around for quite a while, yet there are so many new ways to create with it and the medium its self can be styled to meet any requirement.
There is also a small feature on Bermuda, in the Veranda issue. I look at the light and am reminded of many warm places I have been to: Cuba, Australia, Greece, South of France. The captivation of light doesn't always remain contained in a building. Places can hold the vibration of illumination. It makes perfect sense to me that is why we like these places to holiday, deep in our psyche, we know that ‘light' is a good thing.
So, I'm into my studio today. It may be snowy and cold, bleak by some standards, but I'm excited at what glass creation might be advanced. My hope is that wherever you are, that glass works its magic on you, that you consider your work in a deeper context.
by Elizabeth Steinebach on December 17, 2009 Filed Under: NEWS
2 Comments
Permalink to this Article
Deep Reflections by Jo Perez
Welcome Jo Perez.
How was it that you started working with stained glass?
I met a woman named Elizabeth Grafton around 1978, who had started doing stained glass in her sixties. She was living in Fayetteville, West Virginia and had been an artist for years. She made beautiful large, jeweled installations with Blenko Dalles. Up until that time, I had been planning on setting up a pottery studio and doing some painting. I was recently out of the University of Maryland Art Department and was making a home for myself in West Virginia.
Well, when I saw what Elizabeth was doing, I knew THAT LIGHT and that color had captured me! I was overcome and hooked. The design opportunities and compositional challenges offered what pottery could not give me. So I started playing with sheet glass, aided by Elizabeth's daughter, my friend, Linda Grafton.
Sadly, Elizabeth passed away a few years ago at the age of 99 and left a beautiful legacy of church and private installations all over West Virginia.
Where does the inspiration for designs/work come from?
I find inspiration from so many places. I take any inspiration I can get. I have been influenced by other artists, my multicultural heritage and by good old Mother Nature. We live in such a beautiful universe! The Sand Man has also helped me by giving me images in my dreams.
Who influenced you the most, or helped you along the way?
Once I set upon the stained glass road, the influences came from friends, family, books, etc. My mother is a quilter and has a talented eye. My glass quilt squares and appreciation for beauty come directly from her.
When the Internet became a medium of communication for artists, there was much to glean. Joining various groups such as Association of Stained Glass Artists and AISG as well as participating in various chat groups was very helpful. Other artisans have been my greatest helpers and teachers.
When have you ever been frustrated/disappointed with the material?
The materials rarely disappoint. It is myself that fails. The most frustrating thing is when I break something just as it is nearing completion. This is called rushing and being careless. I get "out of the zone" and loose my feel for the glass and lead. My desires and emotions become separate from the unfolding process of art. When I get like this or am tired, I have to put the work down and approach it when I'm fresh. I have a rule for glass and the garden. Don't bring any negative energy to the tasks, better to wait.
What is your favorite glass and why? How did you use it?
Each glass has its own voice. Using the right glasses can produce a visual symphony. There is a place for cheap glass but I just love Blenko for cathedral glass! That must be because Blenko was the glass that first caught my eye and converted me from other art forms. It has an incredible life and personality but can be a challenging glass to work with. I can happily spend a day searching the glass racks at Blenko for "treasures".
For lamps, I love Uroboros and Youghiogheny. The subtle and rich colors with surprises mixed in will always get my vote. When I order it, I can't wait to see what will arrive, what swirls, what nuance of color, what blends. The glass can go from placid to turbulent on the same sheet. This is the glass one can paint with to create a garden, landscape or purely abstract form.
The right glass in the right place in juxtaposition to others in a composition of line, color, texture and shape should ultimately drive the choice of glass in a piece.
Thanks Jo!
You can check out more of Jo's work in the members gallery
by Elizabeth Steinebach on November 16, 2009 Filed Under: NEWS
0 Comments
Permalink to this Article
Jimi Hendrix by Robert Djordjevic
Welcome Robert Djordjevic
Creative Stained Glass Design
How was it that you started working with stained glass?
Stained glass was introduced to me by my father in law. When I lost my job I started painting again to ease the stress of not working. I applied and was accepted in a Government program to start a small business. I knew that painting was not the answer so I asked my father in law to teach me stained glass. He's been doing it for over 20 years so I definitely learned from a true stained glass artist. I fell in love with this new form of art and that's how Creative Stained Glass Design got started.
Where does the inspiration for designs/work come from?
My inspiration comes from my moods or a feeling - I think that's the abstract painter in me - or when a customer gives me a theme or an idea on what they want created. Or if I want to create something different for myself, I draw or doodle pictures until that one picture gives me what I want then I go from there. I get a natural high from certain glass pieces I create. My Jimi Hendrix stained glass is one for example. It's like getting into a groove when things are just going good.
Who influenced you the most, or helped you along the way?
There is no doubt that my father in law helped me on this journey to stained glass. But my creative side is a raw natural talent that took years to learn. And I want to improve and learn on every piece I make. I want to make stained glass pieces like using a brush on a canvas. I'm still pretty new to this and I want to get better on every stained glass I make.
When have you ever been frustrated/disappointed with the material?
What frustrates me is the one piece that I have to cut a few times to get it right especially when the glass I'm using is important to the piece and I'm limited or almost out of that particular glass.
What is your favorite glass and why? How did you use it?
I love the colorful types of glass, iridescent colors along with spectrum baroque glass
creative stained glass designs
by Elizabeth Steinebach on November 16, 2009 Filed Under: NEWS
0 Comments
Permalink to this Article
Sarah Hall's name is no stranger to the stained glass world. I happened to be in Toronto this last Thursday when she spoke at the Ontario College of Art and Design, a collaboration with the Ontario Crafts Counsel as part of their "craft talk" series.
It was an exceptional presentation. The possibility for photovoltaics is really opening up, especially as the world needs to become more energy conscious and efficient.
If simple solar panels - a sample similar to what Canadian Tire sells - are being used to power computers and telecommunications even in the most remote and hostile environments - because the energy of the sun is free and available across all political borders, image what a well thought out design and purposeful placement in an architectural setting could do!
This is more than just windows, entire skins of buildings could be glass covered. Re-think an office tower, which is mostly glass to begin with. Southern exposures could potentially provide substantial energy savings to the building - lighting interiors, stairwells, foyers and the like. The photovolyaic cells becoming part of the overall pattern and design.
Even a simple school's photovolyaic window installation cost less than 1% of the entire project. This recent installation not only demonstrates to the student body, everyday, the magic of the sun, but will have an impact on the buildings energy requirements long into the future.
I think it would be prudent for all stained glass artists to start familiarizing themselves with this amazing technology. I believe there is a podcast of this presentation available, either through the OCAD or the OCC. Will let you know when it's up and running.
by Elizabeth Steinebach on October 31, 2009 Filed Under: NEWS
0 Comments
Permalink to this Article
Happy Halloween and welcome to November!
It is difficult express how excited I am at receiving a wonderful package from Robert Jekyll. In it were a huge collection of Lead Line Magazines starting from the inaugural issue, April 5th, 1977 - completely typewriter written, as are the next 4 or 5 issues, then, right up to about 2000. They are a delight to read. The quality bond paper of the first issue, is just yellowing evenly now, showing thoughtful reflections of the stained glass happenings of the time.
As I continue to get each paged scanned digitally, issues will become part of the Artists in Stained Glass archive. To encourage exploration of these future additions to the website, I'll be sharing some tidbits as I go. So - from humble beginnings - the membership list from April 1976:
Ulrich Beier, Clive Blewchamp, Carol Dunsford, John Foley, Ira Ginsburg, Martha Henry, Robert Jekyll, A.A. MacDonald, Karen Morris, John Stonkus, Jack Taylor, Denise Therrien, James Tompkins and rounding out the group - Yvonne Williams, at number 14.
I know where Robert is, and it's been a few years since touching base with Carol Dunsford and sadly I know that Yvonne Williams has past, but what of the others?
Please let me know where any of these stained glass pioneers are.
Exhibitions:
Turtle Creek Art Glass - Eleanor Brownbridge
Saturday, November 14th
BlueShores Club House at 28 Waterfront Circle, Collingwood. 10am – 4pm.
Thursday, November 26th to Monday, November 30th.
ONE OF A KIND Christmas Show and Sale, Direct Energy Centre, CNE, Toronto.
booth R29 for the first five days of the show only.
December 2nd to January 2nd
WINTER'S GIFT at the Blue Mountain Foundation for the Arts, 163 Huron St., Collingwood.
Installations:
Sarah Hall Studios - more info Sarah Hall Studios
I am happy to share our new solar art glass windows at Grass Valley Elementary School in Camas, Washington. The school will host an official opening on October 28, 2009. This colorful project for the main stairwell presents solar energy in an imaginative, joyful way for the students. Rainbow projections fill the space and the glass spiral of LED's (connected to solar panels) glow brighter when there is more sunshine.
Laya Crust and I are pleased to announce a 2009 Design Award from IFRAA (American Institute of Architects) for our triptych "I Will Bless You" created for the Beit Knesset of Union for Reform Judaism, New York City.
Great news from our friends at the Stained Glass Association of America
The Stained Glass Association of America would like to invite the members of Artists in Stained Glass to join them in Kansas City!
Summer Conference - June 28th-30th, 2010 Kansas City Missouri
The Stained Glass Association of America is extending their member's rate to all members of Artists in Stained Glass. Early member registration is only $200.00 until December 31th, 2009.
Registration fee after January 1st is $250.00 and after April 1st is $275.00.
To take advantage of $75.00 savings - call toll free from Canada, 1 800 438-9581 before the end of the year - just make sure your membership with Artists in Stained Glass is current and in good standing. More conference information at the SGAA website, it sounds like a great conference line-up. Hope to see you there!
by Elizabeth Steinebach on October 14, 2009 Filed Under: NEWS
0 Comments
Permalink to this Article
Sue Firpo - New work using vintage Bullseye glass
Welcome Sue Firpo.
How was it that you started working with stained glass?
I started with a class about 16 years ago. A friend of mine asked me to donate the first window that I made to a school auction. The piece was a hit and got bid up at the auction. I got a lot of feedback from the people at the auction that made me think that I should continue making stained glass. A couple of years later, I did a trade with someone. I made them windows and they made me a website. The website sort of took off and I transitioned from a stained glass hobbyist to a stained glass professional.
Where does the inspiration for designs/work come from?
Architecture. I have a degree in architecture and have my own design practice as well as the stained glass business. Many of my patterns are inspired from my travels while I was an architecture student in the 1980's. I studied overseas and many of my stained glass patterns are derived from tile patterns or stucco patterns that I saw on the walls, floors, and ceilings of the buildings that I visited .
Who influenced you the most, or helped you along the way?
I am really drawn to the work that I see by the stained glass artists from the late 1800's and early 1900's, especially La Farge and Tiffany.
But really, on a day to day basis, I am influenced by all of the people that I have taken classes and workshops from, and by all of the people that I have had work with me in my studio.
When have you ever been frustrated/disappointed with the material?
I haven't been disappointed, but I do think that it is very challenging to use stained glass in an interior installation. I mean… an installation not lit by natural light. An interior piece needs to be creatively lit and well lit in order for the glass to show well. I find artificial light incredibly challenging. And since, I do a lot of intricate patterns that use a lot of lead and copper foil, light really needs to wash one whole side so that the glass glows. Otherwise, the lead/foil lines can take over and the piece can come off looking heavy or a bit "leady".
What is your favorite glass and why? How did you use it?
I love glass with depth and texture. I use a lot of Youghiogheny stipple glass for art glass and Lambert's makes a mouth blown cathedral glass that really looks antique because it has so much depth to it.
But here is my most recent spectacular glass "score"… A few months ago, I bought a truck load of old Bullseye glass from someone who used to work there in the 1970's. She was clearing out the barn on her property where she had been storing the glass for all those years. She said most of the sheets were products of experiments as the company was perfecting their methods of glass making. The glass is absolutely gorgeous with tons of mottling and rich deep colors and unusual blue-gold-aquas. Bullseye doesn't make most of this glass anymore ( though I recognize some that they still do make), though it all has very distinctive Bullseye characteristics to it.