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For the Creative Professional Working in Hot, Warm, and Cold Glass May/June 2019

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For the Creative Professional Working in Hot, Warm, and Cold Glass May/June 2019 $7.00 U.S. $8.00 Canada Volume 34 Number 3 www.GlassArtMagazine.com KilnMaster Touchscreen Programming just got really cool! • Built-in Wifi and Free App • Write and Name Your Own Programs • Remote Monitoring • Help Screens for Every Feature • Navigates like your Smartphone • Graphing • Hinged Controller for Perfect Angle • Logging • Built-in Library of Programs • Improved Diagnostics ...and so much more skutt.com/kmtwww.Skutt.com/kmt Touchscreen ControllerV3.indd 1 8/16/18 8:09 AM May/June 2019 Volume 34, Number 3 6 Independent Artist From Wind and Water to Pâtisserie The Evolution of Shayna Leib’s Sculpture by Shawn Waggoner 14 Hot Glass Studio Profile Cheyenne Malcolm’s Personal Retrospective The Artist Behind Canned Heat Glass Studios by Shawn Waggoner 20 Functional Glass Nick Deviley The Glassroots Art Show Moves to Asheville by Shawn Waggoner 26 Personal Development Creativity—Using the Rhythm and Harmony of Multiples by Milon Townsend 29 What's New 30 Winning Glass Contemporary Glass Initiatives from The Corning Museum of Glass by Kimberly Thompson 34 GAS News GAS + British Glass Biennale New Partnership and Award Supports Worldwide Innovation and Collaboration by Tess McShane for the Glass Art Society 36 Warm Glass Studio Profile Vitrum Studio’s Judith Finn Conway and Kevin O’Toole Educating a New Generation of Kiln Forming Artists by Shawn Waggoner On the cover: Shayna Leib, 6 species. Photo by Eric Tadsen www.GlassArtMagazine.com Glass Art TM • May/June 2019 • 3 Glass Art Volume 34, Number 3 Publisher ~ Maureen James Copy Editor ~ Darlene Welch Accounting ~ Rhonda Sewell 42 Glass Talk Circulation Manager ~ Kathy Gentry Andrew Lang Advertising ~ Maureen James Blowing Dichroic Graphic Artists ~ Dave Burnett by Colleen Bryan Mark Waterbury Contributing Artists and Writers Colleen Bryan, Tony Glander Tess McShane, Vicki Schneider 50 Tech Talk Staff of SGAA Headquarters FusedGlass.Org 2.0 Paul Tarlow, Kimberly Thompson One of the Web’s Best Fusing Milon Townsend, Shawn Waggoner Resources Gets Better Darlene Welch by Paul Tarlow Glass Art™ ISSN 1068-2147 is published bimonthly by Glass Patterns Quarterly, Inc. 52 Art Glass Studio Profile 8300 Hidden Valley Road, Cariad Glass P.O. Box 69, Westport, KY 40077 Justine and Chris Dodd POSTMASTER: Send address Adding Beauty to the changes to Glass Art, Welsh Countryside 8300 Hidden Valley Road, by Vicki Schneider P.O. Box 69, Westport, KY 40077 Telephone: 502-222-5631 Facsimile: 502-222-4527 Website: www.GlassArtMagazine.com 58 SGAA News E-mail: [email protected] SGAA Launches an Subscriptions: United States, Canada, All-New Online Resource Center and Mexico (U.S. Funds): one year $30; by The Staff of SGAA Headquarters two years $48; three years $60. Foreign (U.S. Funds): one year $56, one year airmail $70. Single copy price (U.S.) $7. 60 AGG News All subscriptions must be paid in AGG/SGAA Conference Speakers U.S. dollars with an international by Tony Glander money order or with a check drawn on a U.S. bank. Periodicals Postage Paid 62 Advertisers’ Index at Westport, KY 40077 and additional mailing offices. ©2019 Glass Patterns Quarterly, Inc. All items submitted to Glass Art become the sole property of Glass Art and cannot Advertising Deadlines be reproduced without the written con- sent of the publisher. Advertisers and/or July/August 2019 September/October 2019 agencies assume all liabilities for printed Ad Closing May 20, 2019 Ad Closing July 20, 2019 advertisements in Glass Art. Opinions Ad Materials May 30, 2019 Ad Materials July 30, 2019 Issue Mails June 25, 2019 Issue Mails August 23, 2019 expressed in Glass Art may not necessar- ily reflect the opinion of the magazine, its management, or its advertisers. 4 • Glass Art TM • May/June 2019 www.GlassArtMagazine.com www.GeminiSaw.com Independent Artist From Wind and Water to Pâtisserie The Evolution of Shayna Leib’s Sculpture by Shawn Waggoner ike quilts fashioned from various colors and textures of coral Currently Leib works in a variety of mediums including metal, reef, Shayna Leib’s Wind and Water sculptures reflect the ceramic, and photography, though glass remains her focus. She pre- Ltwo major passions in her life—music and the ocean. Trained as fers to use the molten material, not for its mimetic qualities but for a classical pianist, the artist relies upon the same part-to-whole its ability to express flow, freeze a moment in time, and manipulate nature of music that brings together individual notes and melodic optics. She states: “The things I find beautiful have always been fractal lines in the creation of a greater composition. Growing up on the in nature. I am intrigued by multitudes of tiny little parts—blades of Central Coast of California, Leib became a diver and underwater grass all bending in the wind to the same rhythm. As you pan out, you photographer, further informing the direction of her art. have waves of form. Zoom in, and you see each individual blade of In a recent American Craft article, “Fear & Fascination,” grass moving to the flow of the wind.” Judy Arginteanu wrote: “A large wall sculpture about 4.5 by 2 Leib’s work, found in numerous private and public collections feet might contain some 40,000 individual pieces of hand-pulled, nationally, has been exhibited at SOFA Chicago and New York for custom-colored cane, which Leib then slumps, cuts, and meticu- the last decade. She is represented by Habatat Galleries Florida in lously arranges in intricate patterns like those that nature seems West Palm Beach; showcased in museums, worldwide blogs, and to create so effortlessly.” magazines; and featured on the pages of Contemporary Lampworking, Leib studied Russian literature, glassblowing, and classical The Best of American Glass Artists Volume L–Z, and A História Do piano while completing her bachelor of arts degree in philosophy Vidro (A History of Glass). Leib was recognized as a 2010 Wisconsin at California Polytechnic State University in San Luis Obispo, Arts Board Grant Recipient, nominated in 2011 for the Louis Comfort California. Accepted into a PhD philosophy program in New York, Tiffany Award, and listed in 2015 as one of the 30 Most Amazing she chose instead to pursue glass and metal at the University of Glass Artists Alive. Wisconsin-Madison (UW-Madison) and graduated with her MFA For the last year Leib has been creating work for her new series, in 2003. Working as a metal fabricator and forger at Pearson Pâtisserie, a therapeutic exercise in retraining her mind to look at Design Studios in Maine, Leib reproduced the famous designs dessert as form rather than food. To glass, the artist combined porce- by the late Ronald Hayes Pearson for his wife, Carolyn Pearson. lain and nearly every possible technique in both mediums to include Upon her return to California in 2004, she taught sculpture and glassblowing, hot sculpting, lampwork, fusing, casting, and grinding drawing at Cal Poly until her move in 2005 to teach glass at the in glass as well as the ceramic techniques of hand building, throwing, UW-Madison. and using a good old-fashioned pastry tube. 6 • Glass Art TM • May/June 2019 www.GlassArtMagazine.com Music and the Sea Leib began playing the piano at age 7 and took lessons all through college, a serious student prac- ticing three hours a day. The complicated melodies of Sergei Rachmaninoff provided endless challenge and fascination. “Playing his compositions is an exercise in pull- ing out a primary and secondary melody. Working with glass landscapes, there’s a lot of that going on. Each individual piece of cane is a single unit. When put together in swirls or waves, one side of the canvas has something akin to a calm buildup or meandering swell, and the other side has something more powerful like a wave motion. My work in glass is very musical, with both dramatic and supportive elements.” Art influences also began in childhood, with drawing later transitioning to painting, glass, and 3-D arts. Cal Poly in Leib’s hometown of San Luis Obispo served as a crucial testing ground for the art- ist. “Music and glass offset the more cerebral aspects of being a philosophy major.” Growing up on the central coast of California, Leib was by default connected to the sea. As a teen she swam in the moonlight without fear or trepida- tion. “It was either a primary force or a backdrop for all of my life. I was very blessed to grow up near this incredibly beautiful ocean.” (Far left to right) Shayna Leib, Six Species, 14" x 50" x 8", 2011; Benguela, 30" x 15" x 6", 2008; Cerise au Chocolat Noir, 5" x 2.75", 2017. Photos of Six Species and Cerise au Chocolat Noir by Eric Tadsen. Photo of Benguela by Jamie Young. www.GlassArtMagazine.com Glass Art TM • May/June 2019 • 7 Choosing Glass “I was flabbergasted! They always tell you, ‘Plan on being broke Though accepted by Bingamton University–State University of your entire life if you’re an artist. Nobody makes it.’ That was a New York for PhD studies in philosophy, Leib chose an artistic path turning point in my life where something that people said was un- and pursued her MFA in glass at UW-Madison. In the beginning, the attainable and unachievable just became something that wasn’t so historical relevance of attending the program founded by Harvey far out of reach.” Following this early success, Leib began further Littleton was lost on the young artist. developing her Wind and Water series. “My undergrad degree was in philosophy.
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