Ferenc J. Albert

Fall 2017

A glass journal for the flameworking community Collaborative Issue

Ryan Tanner & Pakoh

$9.00 U.S. $10.00 Canada Vol 15 Number 3 Tutorials by Eric Goldschmidt Leslie Rowe-Israelson & Ryan Bavin Dr. Whitestone & Rhoades Glass Lewis Wilson with his faithful Paragon F-130. This kiln now comes with an industrial mercury relay, 3” firebricks, slide-out mandrel holder, and sidewall elements. (See photo below.) You can order the F-130 in 120 or 240 volts. The 2” x 8” bead door includes two flexible gaskets. “If you are going to do serious work, you will need a Paragon oven” —Lewis Wilson Lewis Wilson is not a typical glass many times while working on large New slide-out mandrel holder artist. He lived in Morocco as a child, sculptures. My oven recovers heat very The F-130 now has an adjustable taught himself to eat fire and juggle by quickly. Thanks, Paragon.” mandrel holder. Adjust it horizontally age 11, and was part of the Apollo 12 UL and CSA standards and vertically without tools. ground medical crew during the second Paragon kilns are not just assem- New sloped control panel lunar landing. Forty-two years ago Lewis bled—they are hand crafted. And for The control panel is angled for easy made his first glass figurines with Bun- your safety, the F-130 and BlueBirds are viewing and operation of the digital con- sen burners in a medical lab. He taught tested by TUV to meet UL and CSA troller. himself from a library book. standards. Wide selection Lewis developed an early The new and improved Paragon offers the widest selection of relationship with Paragon F-130: mercury relay, 3” lampworking, glass fusing, and bead walls kilns. “My wife and I use three kilns in the industry. Call now or email The firebricks are 3” thick. different Paragon ovens,” us for a free catalog and the name of a This is 20% more insulation said Lewis. “My receiving local Paragon distributor. Sign up for than the standard 2 1/2” fire- oven is a very old Paragon ce- Paragon’s free Kiln Pointers email brick walls and bottom of our ramic oven that I bought used newsletter. earlier F-130 kilns. The extra 33 years ago. Barb uses a insulation enables the F-130 Constantly finding BlueBird XL for soft glass and to maintain a temperature ways to make small boro work. I use a Para- hold with greater ease. A de- better kilns. gon F-130 for my tabletop luxe mercury relay is now work oven.” standard. “The quality of your work is greatly Sidewall elements 2011 South Town East Blvd. influenced by the quality of your equip- The new F-130 has side elements Mesquite, Texas 75149-1122 ment,” added Lewis. “It is good to have mounted in dropped, recessed wall 800-876-4328 / 972-288-7557 an oven that was designed specifically grooves. You can still order the kiln with Toll Free Fax 888-222-6450 for my style of working. I go in and out top elements if you prefer. www.paragonweb.com [email protected] Publisher ~ Maureen James Contributing Editor ~ Sara Sally LaGrand Dear Readers, Founding Editors ~ Wil Menzies, Jennifer Quaid I am quite honored to be contributing editor for the Fall Copy Editor ~ Darlene Welch 2017 Collaborative Issue of The Flow. As an avid reader Accounting ~ Rhonda Sewell and longtime contributor, I am always pleased to see the Circulation Manager ~ Kathy Gentry flameworking community embraceThe Flow as our voice Advertising ~ Maureen James in the world of torchwork. I have witnessed many changes Graphic Artists ~ Dave Burnett since that day in 1994 in Santa Fe, New Mexico, when I first discovered that melting glass in a sharp, pointy flame Mark Waterbury was a possibility, and embracing that possibility would Contributing Artists and Writers change my life forever. I transitioned out of the advertising/marketing/journalism Elizabeth Belle Barbano, Carolyn Baum world and into the glass art world. In the time since then, I have seen the rise of Ryan Bavin, Cindi Brunell the glass bead, the glass marble, the glass sculpture, and now, the glass pipe. Chris Chorvat, Eric Goldschmidt Each community has its players—movers and shakers, innovators, inventors— Helena Hatten, Sara Sally LaGrand and it’s interesting to see how things change over time. There are some things, Sharon Peters, Rhoades Glass however, that never change despite our insistence that it’s all new! I see the pipe Leslie Rowe-Israelson, Staff of The Flow community, for example, struggling with safety and marketing issues as they seek Darlene Welch, Dr. Whitestone to master new techniques. Now that marijuana laws are beginning to relax in some ISSN 74470-28780 is published quarterly of the states in the U.S., it’s fascinating to see the level of mastery that young by Glass Patterns Quarterly, Inc. flameworkers are exhibiting as they gain the confidence to expose their work. POSTMASTER: Send address When many glass artists began making beads in the ’90s, boro did not have changes to The Flow, the color palette of the soft Italian glass, so it became a no-brainer for some of us. P.O. Box 69, Westport, KY 40077 Soft glass was the natural choice. The number of glass manufacturing companies Telephone: 502-222-5631 that have now abandoned soft glass entirely to cater to hard glass has grown, but so has the variety of colors for boro. This shift in the industry has opened up a Facsimile: 502-222-4527 genre of glassworkers who have mad skills and the bravado of youth. While they Website: www.theflowmagazine.com struggle with online trolls, scam charity projects, and uninformed know-it-alls, the E-Mail: [email protected] community thrives with young ideas, deft skills, and confidence. Subscriptions: (4 issues) It’s always refreshing to me to find a young person in glass with a foot securely $28 for one year, placed in history. I really believe the artist who embraces the ideas and ethics of $52 for two years, $74 for three years, the past has a leg up on creating original work inspired and informed by that which Kentucky residents, add 6% state came before. The three articles I have contributed to this collaborative issue embrace sales tax. International Rate that very idea. Glassworker Ryan Tanner works with pipe makers to create very $48 one year, $87 two years, original work with a nod to the technique of the Woodall Studios of 1800s England. $124 three years. Italy’s GLASSTRESS, pioneered by Murano native Adriano Berengo, embraces All subscriptions must be paid in U.S. dollars with the rich history of hundreds of years of glass knowledge with the modern artist’s an international money order or voice. In both cases, collaboration is the key to growth. I also had the great fortune with a check drawn on a U.S. bank. to interview French-born Canadian artist, Mathieu Grodet, another artist with a Periodicals Postage Paid rich sense of art history, and share some of his unique work. I hope you enjoy this at Westport, KY 40077 issue and thank you for the opportunity to share my fascination in all things glass. and additional mailing offices. Keep it hot, glassy peeps! Sample issues U.S. $9, International $13. Sara Sally LaGrand ©2017 The Flow. Contributing Editor Editor and staff assume no responsibility for the claims of advertisers or their services, Ryan Tanner and BFF, nor do we endorse any particular business. The Ancient Mouth Breather. The articles reflect the views of the writer, not Photo by Arey Photography. necessarily those of the magazine. The Flow is not responsible for materials such Deadlines for Editorial Submissions as photographs and letters, and they will not be returned unless accompanied by a self-addressed, Spring 2018 Nature stamped envelope. All material will be presumed December 1, 2018 to be for publishing and is subject to editing unless Summer 2018 Marbles and Paperweights otherwise indicated in writing. March 1, 2018 The Flow urges its readers to proceed cautiously in If you are interested in becoming a contributing artist for The Flow, respect to technical information or visit www.theflowmagazine.com for a link to themes of upcoming step-by-step articles. Always take proper issues, author guidelines, and submission forms. safety precautions when working with glass.

The Flow/Fall 2017 3 The Flow/Fall 2017 Table of Contents Volume 15 Number 3 Flow

3 Letter from the Contributing Editor The Flow Fall 2017 Collaborative Gallery 6 Featuring the work of 16 flameworking artists Synergy 2016: Color Outside the Lines Lampworking Artists Creating Collaborative Beauty 10 by Helena Hatten and Cindi Brunell, Chairpersons Anthony Barbano, Raven Johnson, and Kristian Merwin Collaborative Achievement 16 through Dynamic Talents by Elizabeth Belle Barbano Ferenc J. Albert From Scientific Glassblower 18 to Glass Art Miniaturist by Carolyn Baum Borosilicate Glass as Fine Art A Collective Critical Theory 22 by Chris Chorvat Mathieu Grodet Sharing Blown Glass Narratives 26 by Sara Sally LaGrand Glasstress Fulfilling the Mission to Marry 30 the Contemporary and Glass Arts by Sara Sally LaGrand What’s Hot Featuring the latest in innovative products 34 for the flameworking enthusiast Ryan Tanner Discovering New Techniques through Collaboration 36 by Sara Sally LaGrand Jennifer Caldwell & Jason Chakravarty Collaborative Inspiration 40 by The Staff of The Flow Mountain Inspiration and Color Bar Collaboration From the Kiln to the Hot Shop 44 Demonstration by Leslie Rowe-Israelson and Ryan Bavin Parallels Between Hot Glass & Human Existence 49 The Village Iterate Space Tech with Multiple Windows, Blow-In Style 50 Demonstration by Dr. Whitestone and Rhoades Glass Collaboration in Fiber and Glass 56 Sharon Peters and Shirley Cook by Sharon Peters On the Cover The Curious Glass Eye Ryan Tanner & Pakoh. Photo by Jeff Dimarco. An Historical Tutorial 58 Demonstration by Eric Goldschmidt Table of Contents 62 Advertisers’ Index Salt Glass & Malaquias Glass. Photo by SGS Photography.

4 The Flow/Fall 2017 765.315.0333

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The Flow/Fall 2017 5 The Flow 2017 Collaborative Gallery

Laura Arns Arson Studios www.arson-studios.com Mike Mumford Roadrunner Forge www.roadrunnerforge.com

Kathryn Guler Kathryn Guler Designs www.kathrynguler.com Diane Sepanski Diane Sepanski Art & Jewelry www.facebook.com/dianesepanski

6 The Flow/Fall 2017 Terry Henry Leslie Rowe-Israelson Terry Henry Glassworks Twin Vision Glass www.terry-henry-glassworks.com www.twinvision.fusedglassartists.com Paula Radke Ryan Bavin www.paularadke.com Bavin Glassworks www.bavinglass.com Photo by Kimberley Rae Sanderson

Zach Jorgenson Lazuli Flux Glass Instagram @lazuliflux Tim Keyzers Instagram @timkeyzers

The Flow/Fall 2017 7 Floriane Lataille Verre & Flamme www.verre-et-flamme.com William Geffroy www.williamgeffroy.com

Floor Kaspers www.floorkaspers.nl Jeff Rutherford J Olive Design Instagram @jolivedesign

Salt Glass Instagram @saltglass Malaquias Glass Instagram @malaquiasglass Photo by SGS Photography

8 The Flow/Fall 2017 NewNew CompressedCompressed AirAir FootFoot PedalPedal Available as a Stand-Alone unit or an add-on to any Rock It pedal

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The Flow/Fall 2017 9 SynergySynergy 2016:2016: ColorColor OutsideOutside thethe LinesLines Lampworking Artists Creating Collaborative Beauty

Jan Peck & Susan Richards

Judy Doherty & Frances Ross by Helena Hatten and Cindi Brunell, Chairpersons

Photography by sylvus tarn

etroit, Michigan, is home to artistic bead guilds. The Southeast- Every other year, the two guilds come together for a collabora- ern Michigan Glass Beadmakers Guild (SMGBG), known more tive project called Synergy. Synergy 2016: Color Outside the Lines, Dlovingly by its members and the local community as GlassAct, was the latest event held in November 2016, started with lampworking founded in 2000 and is the local chapter of the International Society artists from GlassAct creating an array of beads as a cohesive set. of Glass Beadmakers (ISGB) for the Metro Detroit area. GlassAct Nineteen of these sets of beads were blindly distributed to members is dedicated to the education, promotion, and preservation of the of the Great Lakes Beadworkers Guild, whose members then created art of lampworking. This diverse guild welcomes lampworkers in the seed beads, metalwork, and anything else required for finishing all levels of expertise from beginners to advanced. a piece of jewelry, attire, or glass art. The Great Lakes Beadworkers Guild is a place where beads are The following pages contain wonderful examples of the beauti- more than just objects with a hole, but rather are highly suspected ful, inventive work created by these talented flameworking artists. of having individual personalities of their own. Founded in 1992 in The names listed below each photo are, from left to right, members Royal Oak, Michigan, this nonprofit organization has approximately of the Great Lakes Beadworkers Guild and GlassAct. Please visit 200 members in Southeast Michigan who meet at least once each www.greatlakesbeadworkersguild.org and www.glassact.org for month to discuss beadworking techniques and learn more about the more information on these groups. many different aspects of creating beadwork.

10 The Flow/Fall 2017 Madeline Caporale & sylvus tarn

Kate Dunn & Cindi Brunell

Karen McCormick & Cindi Brunell

Barb Klann & Annie Shook

The Flow/Fall 2017 11 Gail Frederickson & Annie Shook

Sue Vogen & Frances Ross

Judy Sulllivan & Liz Lucas Modeled by Rashawn

Julie Madden & Cyndy Gohsman

12 The Flow/Fall 2017

Helena Hatten & Vanessa Morse

Carmen Falb & Carol Shephard

Gay Dries & Denise Billups-Walker

Jeanette Isenhour & Vanessa Morse

14 The Flow/Fall 2017 Linda Darmes & Lisa St. Martin Photo by St. Martin Studios

Sharon Wagner & Kim Merray Photo by Dorinda Balanecki Flow

The Flow/Fall 2017 15 Anthony Barbano, Raven Johnson, and Kristian Merwin Collaborative Achievement through Dynamic Talents

Text and Photography by Elizabeth Belle Barbano

ebster’s defines collaboration as working jointly with others, especially in an intellectual endeavor. Anthony Barbano is Wcertainly not new to the concept of creating in tandem with other artists. He and Raven Johnson have been collaborating since 2012. Over the course of their creative teamwork, the artists’ technical abilities have advanced significantly, and their skills have continued to develop since their first combined design. The inception of this collaborative team stemmed from a mutual friendship that has fostered an appreciation and respect for one another. The collaborative process begins with Anthony, who specializes in fuming glass by melting 24K gold and pure silver into the glass at the torch. Raven’s preferred medium is metal, specifically copper. Anthony provides the fumed glass cabochons. Raven fashions the bezel sets, then handcrafts the designs around each pendant. The next step of the process involves an acid bath for the copper electroforming. After the pendant has soaked in the acid bath for over 24 hours, it is prepared for the patina.

Pendants by Anthony Barbano and Raven Johnson. Glass grenade by Anthony Barbano and Kristian Merwin.

16 The Flow/Fall 2017 Blending Diverse Styles Additional Collaborations Each artist has his own distinctive style. Raven’s work is often Anthony has worked with additional artists as well, including associated with the sophisticated Steampunk style, which tends Kristian Merwin, who collaborated with him on a firearm. The glass toward merging the Victorian era’s romantic essence with elements hand grenade created by the duo in this particular collaboration is from the Industrial Revolution, while Anthony’s work is informed literally a sculptural rendering of the pineapple practice grenade that by a formal fine art education from Utah State University. When Barbano’s grandfather used as a soldier during wartime. combined, the two different techniques come together in dynamic The glass grenade was handblown by Anthony, then formed in designs that are timeless. a bronze mold made by the artist through a process known as lost Each design is signed and often dated with a titanium-tipped wax casting. Kristian Merwin then transformed the grenade into a pen for authenticity. Collectors of these collaborations are confident functional work of art. The grenade is part of a limited edition series in knowing that their design is a one-of-a-kind original, backed that contains only eight pieces in total. by a lifetime guarantee. Both Anthony and Raven are proactively Flow engaged in designing and completing the collaborations together. www.barbanoglass.com Their ability to achieve a truly successful piece involves respect www.facebook.com/kristianmerwin and dedication. Working in the collective best interest of each art- www.facebook.com/ravenjohnsondesigns ist is essential to ensuring a quality experience for them and their Elizabeth Belle Barbano has a masters degree in art administra- collectors for years to come. tion and is an artist working in multiple mediums. She also serves as an advocate for arts education. © Copyright 2017 by The Flow. All rights reserved. The Flow/Fall 2017 17 Ferenc J. Albert From Scientific Glassblower to Glass Art Miniaturist

Miniature glassware created in collaboration with Pete Aquisto.

Text and Photography by Carolyn Baum

had the pleasure of meeting Ferenc Albert several years ago when he was only 80. He and I work independently at the Hultman IGlass Studio in Sarasota, Florida. Ferenc is now 85 and still works Ferenc miniature glass scientific vessels included several times a week over his torch, a simple handmade setup. He in this reproduction of Thomas Edison’s laboratory specifically designed it so that he can quickly and easily change on display at Fort Meyers, Florida. torch heads with ease. Photo courtesy of the Thomas Edison Museum. The artist uses a little Smith torch and several other small torches for his creations. In front of his torch is another custom-made shaping Scientific Glassblower Meets Glass Art tool designed by Ferenc to fit the exacting requirements of his craft. Fortuitously, Ferenc met a woman who had a full-size Sandwich From this simple table, he makes incredible miniature glassware. antique glass collection. The Sandwich Historical Society and Glass Museum collects, preserves, and interprets the history of the Town Scientific Glass Beginnings of Sandwich, the oldest settlement on the hook-shaped peninsula Ferenc, who now lives in Sarasota, Florida, was born in Hun- of Cape Cod in Massachusetts. A large part of Sandwich history gary in 1931. In his teens he was chosen to receive an education in is involved with American glass production. The collector asked scientific glassblowing at the Budapest Institute of Technology. He Ferenc to produce miniatures for her in the Diamond Thumbprint worked in scientific research at the University of Budapest as a glass- pattern of Sandwich glass. The innovations in tools and techniques blower until 1956, when he left to come to the United States. While that he developed in order to accomplish the task are what separate in Hungary, he laughingly made a miniature glass replica of a still. Ferenc Albert from other miniature glassblowers. Upon arriving in the U.S., the artist worked at the Euclid Glass Collectors crave the ability to be able to match antique glass Engineering Laboratory in Cleveland, Ohio, then moved to New patterns in miniature form. Developing and producing his own York, where he worked at IBM in the semiconductor development miniature molds allowed the artist to fulfill that desire by repro- and manufacturing division for 25 years. He became the head of the ducing glass miniatures in the various styles of antique glass. He scientific glassblowing lab at IBM, with 18 people working under developed molds for English Hobnail, Rib Glass, and the Sawtooth his direction. There he supervised the creation of scientific glass and Diamond Thumbprint patterns, as well as others. This means for development and manufacturing projects. Pushing the leading that his glass miniatures can be placed in miniature reproduction edge of technology was a constant challenge for him and his team. scenes and match the style of the decor perfectly. In 1975, while he was still at IBM, Ferenc became interested In 1987 Ferenc decided to take early retirement from IBM and in miniature reproductions, going to shows and conventions where began a career in earnest as a maker of glass miniatures. He has other glassblowers were demonstrating their miniature wares. Ferenc received many honors as a miniaturist, among them being inducted realized, however, that if he were to contribute to this miniature art as a Fellow into the International Guild of Miniature Artisans and form he would have to take things further than what was being done elected to the Academy of Honor of the National Association of already. He was up to the challenge. Miniature Enthusiasts.

18 The Flow/Fall 2017 Miniature ruby glass decanter.

Diamond pattern mold created by the artist with a finished piece of patterned glassware.

Miniature versions of scientific glassware. Close-up of the collaborative pieces created for Tiny Precision Glass Art a miniature reproduction of a glassware shop. As a miniaturist, Ferenc’s work is not only created with the utmost detail but is also done to the exact scale that is required by the industry. He keeps detailed notes on all of the tiny pieces he makes, how they were made, and to what dimensions, since when he makes a set of glassware, for example, each one must be exactly the same size—a very exacting job. His visual acuity is awesome, and his depth perception still holds today, even though Ferenc would not say so. Some of my personal favorites are the glass scientific vessels that the artist made for the miniature reproduction of Thomas Edison’s scientific laboratory, which is on display at the inventor’s winter home in Fort Meyers, Florida. The museum was kind enough to send me photos of this wonderful exhibit. Ferenc has collaborated with artists working in a variety of mediums from around the world. Artists he has worked with include Scott Hughes, Bruce Phillips, and Phyllis Tucker, for whom he fashioned the glass parts for their miniature chandeliers. The artist showed me the tool he custom-made to use in creating the baccarat-style pendants for Phyllis Tucker’s commissioned chandelier. His acute attention to detail is evident in how accurately the pieces mimic the Ferenc Albert at work in his studio. original full-size piece.

The Flow/Fall 2017 19 Be Creative!

Be Creative!

Ferenc has also collaborated with Pete Acquisto, a silversmith who makes Victorian style cast pieces in sterling. Ferenc’s glassware Flameworking is made to fit absolutely perfectly in the cast frames that Pete makes. BeBe CCreative!reative! Other collaborating artists include metalsmith Chet Spacher, china painter Monique Jouvenel, and woodworkers Nic Nichols, David With over 40 years of Kruppick, and Ernie Levy. experience in retail and education, Here is one last interesting sideline I would love to share about Delphi Glass produces the Ferenc Albert. Among the other accomplishments of this kind and humble man, he was also Hungarian National Kayak Champion of highest quality of ﬂ ameworking 1952 and 1953 and the National Kayak Champion of the United tools and supplies. States in 1963, 1964 and 1969. I am so blessed to know him and 100% Satisfaction Guaranteed to gain new insights and perspectives for my own work from his magnificent glass art. Flow [email protected]

Delphi Glass offers a wide selection of supplies including glass rods, tools, and instructional materials - So Get Fired Up with ﬂ ameworking!

Artist: Val Oswalt-De Waard

Artist: Louise E. Center section of the glassware shop reproduction.

Carolyn Baum is an award-winning glass artist who has studied with Paul Stankard and has won many national awards. Flameworking, or lampworking, is the art of manipulating glass Her work was featured in the nationally acclaimed exhibit, Life- using heat from a torch. It is a popular technique for forms, and has been published in numerous magazines and books. bead making and for sculptural or blown pieces. Carolyn, who was chosen to represent the International Society Delphi Creativity Center of Glass Beadmakers (ISGB) in its 10th anniversary traveling 3380 East Jolly Rd. Lansing, Michigan 48910 art exhibit and auction, combines her love of nature with her (800) 248-2048 love of glass bead making. Visit www.carolynsglassflowers.com For more information and to sign up for a class, to learn more about her glass art.

20 The Flow/Fall 2017

Delphi Glass Print Ad_Flameworking_2017.indd 1 6/2/2017 11:08:25 AM

Borosilicate Glass as Fine Art A Collective Critical Theory

Text and Photography by Chris Chorvat

ollaborative learning in art is a successful community building strategy that brings unrelated artists, each with different talents, to a dynamic level of ability and creativity. To build Cborosilicate glass art into what it is today, artists have employed a variety of methods in the past that were combined with social interaction and group processing. In this way, lampworkers improved the overall understanding of our medium and the techniques available for its usage. This began by nurturing artists to challenge new ideas while building on the successes of the past.

Unraveling the Mystery One of the first contemporary borosilicate lampworking communities started by way of collaboration. Many artists had never heard anyone other than their physics teachers mention borosilicate, so the idea of using it to make art seemed foreign to many people. There was a mystery in the air about the medium that seemed to only exist for the people who found themselves going out of their way to burn glass on a torch. Virtually nothing was available to the public about glassblowing, especially borosilicate glassblowing. I’d been exposed to historical techniques in both the United Kingdom and Italy, so I had somewhere to start. Searching for information about borosilicate glass was esoteric, however, because it led to an entirely different type of material science and innovation. The problem for most lampworkers in the premillennium was a lack of information and technology. The only way to reach out to other glassblowers was by phone. You could not send images of your work in a few seconds or fashion some fancy, dazzling website to prop up your glass reputation in those days. You simply had to walk the pavement and write everything down. I compiled a list of every person I could find on my own who was involved in working borosilicate glass, but the search bore no fruit until I reached out for help to other people who make art out of glass. I had acquired Edward Carberry’s Glassblowing, but much of the terminology in the book was useless without knowing where to find the glass or gas mixture he was using. In 1993, I called Steve Valentine Adams, the only local glass master I had heard of, and asked him about using borosilicate to make art. He informed me that it was used in scientific glassblowing and that I should look up graphite. This explorative march out into the world of material science would lead to a greater personal understanding of the universe we live in. Obtaining my first borosilicate glass tube from a junk yard that housed industrial waste, I went to the welding store to buy some copper covered electrodes to use for melting my glass.

Experimenting with Boro Many of my first experiments were done wearing welders shade #5 green goggles and were placed in vermiculite, per the advice of a casting artist I knew. You would assume that I had adequate ventilation, and the guy at Eagle Hardware told me the house fan could move enough air. Of course, it did not. Thus, I was stuck in an unhealthy studio for a year with archaic tools and a very limited knowledge of what I was trying to do. It was time for some divine lampworking intervention, which came in the angelic form of Travis Spalding. After talking about melting glass at a Barter Faire, he brought over a colored rod of borosilicate white that he had retrieved from the electron gun mount of a retired televi- sion tube. Later, Austin Kocheck brought a copy of Homer Hoyt’s Glassblowing—An Introduc- tion to my house. The greater journey into forming our lampworking community began. They eventually became family to me. Without their interest in borosilicate coupled with a desire to collaborate with me, it’s possible that I would still be in my basement, fouling up the place and burning myself.

Chris Chorvat, Higher Art, borosilicate glass, aluminum, and copper, 14" x 3", 2016.

22 The Flow/Fall 2017 The knowledge we obtained through Hoyt’s amazing book was Learning Face to Face enough to give us all a collective understanding of new ways to We learned to share in order to succeed—eye to eye, working shape borosilicate, but it was not until we discovered Bandhu Scott right next to each other. My first teacher, Darren Cross, seemed to Dunham’s first edition ofContemporary Lampworking that we could be stuck in my corner, since he was right there watching everything discuss the more pressing issues about color and shape that would I did, and he helped me to understand all the nuances of the process eventually lead to a worldwide conversation about borosilicate glass by collaboration. Not only did this give me greater confidence to suc- as a high-art medium. ceed, but it also allowed me solace in failure. He would demonstrate the solutions as the problems arose, citing scientific glassblowers The Beginnings of Collaboration the entire time. Without this interaction, I could not have effectively Bandhu’s explorations into glass opened a national dialogue understood the collaborative effort offered to us by the scientific among lampworking artists that fueled their creativity as a col- glassblowing community. laborative force. His book provided standardized ways to speak Darren had learned by way of old-school blowers who were to one another and reinforced a necessity for both institutional very reluctant to share their knowledge. He shared those techniques and private instruction. This accomplishment by Dunham was the with me, and in turn, I shared my knowledge of the Venetian glass- result of a collaborative effort by many of the lampworking glass blowing techniques that I’d seen in Italy. Our personal successes artists of that time. depended on caring about the success of one another. In working The project required an intrinsic understanding of cooperative together, Spalding, Kochek, Cross, and I were able to develop new learning by both Bandhu and the artists he worked with as they techniques for making borosilicate glass art based on different gathered all known aspects of borosilicate glass into one place for combinations of talent and the shared experience between us. No a truly contemporary view of the medium. Through Contemporary person was the leader, and we explained every discovery to each Lampworking, which is now considered the bible for contemporary other without hesitation. lampworkers, many more artists came out of the woodwork to contribute to this collective understanding by submitting tutorials for following editions of the book. As limited as borosilicate glassblowing was in the very beginning, by showing us what was possible, contributing artists such as Robert Michelsen, Brian Kerkvliet, and Bandhu Scott Dunham gave us something truly contemporary for which to aspire. Bandhu’s ability to describe and quantify what was being said collectively spurred a creative shockwave throughout the borosilicate community and fostered relationships between artists and manufacturers that led to the development of our most commonly used contemporary lampworking materials and acumen.

(Left) Chris Chorvat, borosilicate glass, 2004. A collection of the fruits of collaborative learning. (Right) Chris Chorvat and Darren Cross collaboration, borosilicate glass, 6" x 1-1/2' (left) and 4" x 1-1/2" (right), 1995. Sharing techniques meant more creativity for borosilicate artists of the 1990s and insured the future of innovation for years to come.

The Flow/Fall 2017 23 Much of what we learned we could share with other blowers and Passing the Baton found a wealth of unheard of borosilicate techniques by traveling Lampworkers pool their knowledge with a somewhat evolved to learn from existing artists such as Bob Batram, Bob Snodgrass, form of individual accountability, as they rely solely on those who Dave Goldstein, Kevin O’Grady, and Loren Stump. Through these came before for support. Paul Trautman and Henry Grimmett col- face-to-face peer interactions, we learned by proxy from world- laborated with many of us to test first editions of their contemporary renowned artists such as Hans Godo Frabel and Cesare Toffolo who colored borosilicate batches, and they would go out of their way to were using borosilicate to create contemporary art. answer all of the questions we had. By their kind patience with us, These artists pointed us in the direction of the most accomplished we pushed the agenda forward for lampworkers of the future in our glassblowers on the planet, and many of us continued to seek more collaborative efforts. The current success of lampworking as an art knowledge from Italian glassblowers, such as Lucio Bubacco, who medium has relied entirely upon cooperative learning to amass the shared their amazing techniques with us at workshops, schools, and plethora of opportunities that exist in the medium today. eventually, if we were lucky, in their own private studios. Suddenly Through ceaseless searching for new information, there was a we were helping one another other avoid mistakes, and we flourished need to verify our own suspicions about the value of our work and by exchanging materials, information, and resources. A form of to respectfully approach people who were interested in obtaining collective critical theory about borosilicate was crafted as we chal- it. Through group processing, our first contemporary lampwork- lenged each other and offered feedback along with our observations. ing communities reflected on what had been collectively observed together to understand the overall effectiveness of the work that Additional Educational Opportunities had been done before. A few of us looked toward the experience of art degrees, because Lampworkers were somewhat invisible to most contemporary a school culture promotes artists in their own learning as well as glassmakers in the beginning of what we now call the American a culture of collaboration and cooperation. By seeking a greater Studio Glass movement. The number of available artists to learn understanding of art itself, we were introduced to artists who came from was sparse, and the effort that was required to attend work- before us as well as ways to employ cooperation in all settings. shops was formidable. Since we were developing our techniques At Pilchuck, for example, artists created their work with flame- at the same time as many of the movements in modernism, only worked soda lime and borosilicate glass. Seeing their success mo- collectively could we validate our presence in the greater world of tivated some of us to bridge the gaps in the different methods for glassblowing to gain support by the establishment. When we showed making things. Realizing that artists need to proactively maintain a up at a fancy venue to blow glass for a crowd, it was important to true willingness for collaboration, we learned a better sense of com- some of us to look our best, since we were representing something munication between us, experienced the comfort of self-expression, that many had not seen before. and enjoyed the fruit of manners and appropriate behavior. At the beginning of the lampworking movement, there was a vast amount of misinformation about Italian terminology, and collaborative learning quickly and kindly corrected us all. Many of our items were unique and were without adequate names to describe them. Group processing was key in the development of popular shapes. The group also had the desire to begin a respectful study that would allow the transposition of time-honored soft glass practices into lampworked borosilicate artwork. While that was happening in the United States, there was hope that lampworked borosilicate would take hold in South Africa with the aid of Graham Micallef, who had come to Pilchuck in 1996 to do just that. While his intentions were good, he could not get other borosilicate artists there to share any resources, exchange information, or collaborate. If you google “borosilicate South Africa,” you can see how that worked out for them.

Austin Kocheck (center right), Travis Spalding, (top right), and Adam Laabs (remaining pieces), borosilicate glass, 1" diameter, 1995. Develop- ing possibilities through collaboration, artists shared ideas that shaped the future of borosilicate lampworking. 24 The Flow/Fall 2017 Finding Success through Collaboration Group cooperation is a key element to collaborative art making Glass Expert Webinars™ and is very important in building the personal responsibility needed to make stuff happen. If there is a person who takes charge for every- Live Two-Hour Webinars with one, then that person will dominate other collaborators and command Renowned Glass Artists those collaborators, which will hinder the development of different No Traveling Required! perspectives. This invariably results in group members taking from rather than giving to the project, thus indulging themselves in some Denny Berkery measure of social loafing. Marginal collaborators turn away from The Copper Foil Method the group as they passively participate with barely any contribu- September 26 tion. The group consensus then becomes broken and does not work effectively. The lack of group effectiveness can result in priorities that are blown out of proportion and eventually cost too much in Dennis Brady Screen Melt the way of the time required to negotiate around them. Therefore, September 28 if only one person is in charge, the collaboration has already failed. In the early 1990s, it was important to share information across the board in order to avoid going about our processes with our own Randy Wardell levels of misinformation. This sharing saved a lot of headaches—as Joy of Fusing well as emergency room visits. We gained a greater sense of com- October 12 fort in the materials with which we were choosing to work by an empirical consensus of their efficacy and safety. We could celebrate Tony Glander our successes in concert with other lampworkers, having created a Screen Printing network of possibilities through which to do so. October 17 Without processing our failures and successes as a group, we could not have built the lampworking communities we have today. Lisa St. Martin We stay linked to other artists, skilled or not, because we cannot suc- Flameworking ceed unless they do. At first, we did it to survive, but eventually we October 24 found that our successes became a part of our daily lives. We found new friends and family in the greater community of lampworkers Lisa Vogt and created new opportunities for one another without intentionally Fusing with Frit doing so. Success is what happens when we encourage one another October 26 and foster an attitude of collaboration around us. Flow Margot Clark Instagram @Art_Walker_Chorvat Creating Accents & Artisans November 7 Chris Chorvat is an interdisciplinary artist and holds a bachelor of fine arts degree. He is a master in the art of bo- Peggy Pettigrew Stewart rosilicate lampworking and has instructed glass art students Verre Églomisé™ with workshops and apprenticeships for over 20 years. As a November 16 writer for Glass Art, GlassLine, Profitable Glass Quarterly, and Contemporary Lampworking, Chorvat’s technical articles on Craig Mitchell Smith New borosilicate artwork techniques currently reside in The Corm- Poppy November 28 and 30 ing Museum of Glass archives. Gil Reynolds Fused Glass Breakthroughs December 7

Dennis Brady Glass Weaving December 12

Joe Porcelli Cutting Glass December 14

™ Chris Chorvat, My Good Eye, borosilicate glass, 6" x 6", 1998. Visit the Glass Expert Webinars link under “What’s New” at www.GlassPatterns.com for more details and local times. © Copyright 2017 by The Flow. All rights reserved.

The Flow/Fall 2017 25 Mathieu Grodet Sharing Blown Glass Narratives

by Sara Sally LaGrand

became connected with French-born artist Mathieu Grodet on Instagram, but I remember Iseeing his work earlier in person at SOFA Chicago. Mathieu walked up to my friend Lesli Mash and me at the November show in 2012, or maybe it was 2013. He was eager to show us these little shadow boxes with flameworked skeletons and snippets of medical journals. The work had a sort of whimsy that was slightly creepy, but there was also an essence that gave his pieces an elegant edge. The artist also had a huge piece comprised of individual feathers of yellow glass that were fashioned into a massive, breathtaking pair of angel wings. Looking at the two pieces, they might seem disparate until you step back and view the whole body of his work.

Discovering a Narrative It’s true that the artist seems a bit like a wander- ing glass gypsy as he flameworks, blows, paints, engraves, and fuses. “I think my versatility doesn’t serve me, as I am not really fitting into a particular frame,” Grodet says. He works to master each technique, to serve as a form for his particular kind of enigmatic narrative. The narrative is there, not Mathieu Grodet, Anatomie du Tueur only in the minutiae of the little vignettes of wings, but also animals skeleton box. Photo by Tanya Lyons. and angels. Wings are a recurring theme in his work. In fact, he has several recurring themes. The color yellow proves to be dominating, as well as music, animals, and 2-D drawings of 3-D pieces he has created, all presented in a graphic fashion. Yes, there most defiantly is a narrative. He is a little cagey about The Siren Call of Glass that . . . on purpose. Says Grodet: “I am convinced by artist Marcel Grodet remembers being fascinated by the art of drawing at the Duchamp when he said, ‘It is the viewer who makes the piece.’ So tender age of 7. He is quick to point out that his father was an archi- I don’t want to explain everything, since I trust viewers to find their tect, and both of his maternal and paternal grandfathers drew as a own way, their interpretation of what they see.” hobby. His first intention, however, was to be a graphic novelist. He If you examine Grodet’s 17-inch enamel plate titled NDNM (No began his college journey in his hometown in France at the Visual Doubt, No Mystery), it is full of some of his favorite images—an- Art Institute of Orleans before helping a friend build a hot shop. gels checking their cell phones, a violin, a bull tethered to a pig, “After my graduation in France,” Grodet explains, “I started the flowers, a rabbit with a hat. “I like the story in a story in a story,” public fine arts school in my hometown. I wanted to be a graphic Grodet explains, “reflecting better the complexity of the world to novelist, but the trend was more toward the digital and new technol- my point of view.” ogy in 1997. I was feeling the need to embrace a material, not just The large yellow wing piece is also found in NDNM, or at least ideas and a keyboard.” After taking six months to help his friend a miniature enamel painting of it. If you examine some of his blown with his passion for glass, Grodet dropped art school and sought and engraved works, you will find the same attention to tiny images an apprenticeship. His quest for knowledge sent him all across and obscure details that not only turns you sideways, but also draws Europe working in glass, including a stint at The European Centre you in for further study. for Research and Training in Glass Art.

26 The Flow/Fall 2017 Creating Symbols of Freedom and Change Nowadays, Grodet lives and works in Toronto, Canada, and (Left to right) Matthew Grodet, Revolution, teaches glassblowing at Haliburton School of Art and Design in in collaboration with Tanya Lyons; Haliburton, Ontario, Canada. The lion’s share of his time, however, Evolution 2 solo work; and Soleil in is devoted to creating work—thought provoking, enigmatic work collaboration with Tanya Lyons. that includes focusing on murrine. Photos by Tanya Lyons. Grodet muses: “I think art has a tendency to become beautiful, pretty, nice, tight, neat, and why not, instead of being political in a way and communicating experiences that bring a different perspective on the world that surrounds us.”

The Flow/Fall 2017 27 The artist cites the experiences of his grandfather in a Nazi The work is indeed light and airy—bright yellow and pale blue concentration camp and how he is reversing or correcting that with cartoony characters floating on the surface of the glass with experience through art. “I use a lot of wings, indeed as a symbol mysteriously connected images of struggle and hope, of death and of freedom and then change” he says. “I started a series of wings rebirth. And just when you think you have a handle on it, he says, with my partner at that time to send to my grandfather through time “The tune around the edge of the plate is “Everybody Knows” from and escape. That way, the burden of survival might be slighter for Leonard Cohen. Ah, the enigma! I will leave that little tidbit for my daughter and the next generations.” But he wants the wings to your own perusal, dear reader, and a last bit of mystery to send you symbolize other things for all viewers of his work as well. on a journey of closer study. “Through my pieces, I want to talk about terrible things in a Mathieu Grodet’s work can be found in the collections of The pretty way, so at first you think it is nice, colorful, almost a com- Corning Museum of Glass, in Corning, New York, the Art Institute edy, but if you look deeper and with a dose of of Chicago in Illinois, and the Montreal Museum of Fine Arts in sarcasm, however, my hope is that Quebec, Canada, as well as public and private collections you will see and feel the throughout Europe and North America. You can human tragedy.” view more of his work at the Sandra Ainsley Gallery in Toronto, Ontario, Canada, and at www.facebook.com/mathieu grodet. Flow

Instagram @mathieu_grodet_glass

Sara Sally LaGrand, award- winning artist and author, has had the great fortune to study glassmaking with many gifted teachers, both in America and Italy. She holds a BA in Glass Formation from Park University, Parkville, Missouri. Honors include awards from Art Westport, Kansas City, Missouri; State of the Arts, Prairie Village, Kansas; The Bead Museum of Washington, D.C; Fine Line Gallery, Chicago, Illi- nois; Images Art Gallery; and the Kansas City Artists Coalition. LaGrand has taught flameworking all over the world and has work published in many books and maga- Mathieu Grodet, NDNM enameled zines. Her work can be found in public and private collections plate. Photo by Jade Chittlock. around the world. Visit www.sarasallylagrand.com to view her glass art.

GLASSTRESS Fulfilling the Mission to Marry the Contemporary and Glass Arts by Sara Sally LaGrand Photography by Francesco Allegretto, Courtesy of Studio Berengo

he ultimate project designed to bring collaboration to contemporary artists Tand glassworkers is the brainchild of Italian entrepreneur, Adriano Berengo. I met him at Sculptural Objects and Functional Art (SOFA) Chicago 2015 after viewing two Italian exhibitions housed, in part, in Murano and Venice Jan Fabre, called GLASSTRESS. It was fantastic, not only Holy Dung Beetle because of the nature of the project—to bring with Laurel Tree, glass, artists not normally known to work in glass to 87 cm x 31 cm x 37 cm, Murano to work with skilled glassworkers— 2017. Courtesy of the artist but also using an old Murano factory and the and Studio Berengo. Palazzo Franchetti in Venice at Campo Santo Stefano as settings for the presentation.

Appealing to a New Generation Berengo was walking around the space at SOFA in a pair of bright pants covered with flames. He was very hard to miss, but it’s all part of his big personality. He was observing Silvano Signoretto demonstrate his skill at The Corning Museum of Glass Mobile Hot Shop. Centuries of Murano expertise poured from Signoretto’s hands, and Berengo was quite pleased. The stage was being set to expand his vision. Inspiration for the nature of his project, Berengo said, was drawn from Egidio Costan- tini and his Fucina degli Angeli, where artists such as Pablo Picasso, Marc Chagall, and Lucio Fontana came to work with glass in the 1950s. Berengo’s modern-day project is designed to renovate the dying glass industry in Murano and inspire a new group of artists to include glass in their repertoire of self-expression. The result is breathtaking, in part because of the freshness that a different generation of artists bring to the glass, but also because of the discipline these seasoned Murano masters bring to the mission. It’s a perfect pairing to breathe new life into a struggling tradition.

Ivan Plusch, Glass Malaise, glass and mannequins, 120 cm x 70 cm x 160 cm, 2015.

30 The Flow/Fall 2017 Modern Expressionism Meets Old-World Elegance Part of the success of GLASSTRESS and any future incarnations is presentation, which stems from the pro- fessionalism in the work itself. The fantastic historical setting of the beautiful Palazzo Franchetti, former site of the Banca di Venezia, and the hollowed out former glass factory on the island of Murano must be included as well. GLASSTRESS is where supermodern expressionism meets old-world elegance and craftsmanship. It mirrors the struggle of modern living with a foot in the rich history of Venice. While the setting for GLASSTRESS continues to be housed in Italy, exhibits are also found outside Italy’s borders. GLASSTRESS Boca Raton in Florida, which just completed its exhibition dates, presented the work of 32 artists. The Florida exhibition was followed by the opening of GLASSTRESS 2017 in Venice and Murano on May 11, 2017. The show highlights the work of 38 artists and will continue to run through November 26, 2017.

Karen LaMonte, Nocturne 1, cast glass, 145 cm x 69 cm x 68 cm, 2017. Courtesy of Austin Art Projects, Palm Desert, © Karen LaMonte. Koen Vanmechelen, Black Medusa, glass and bronze, 50 cm x 88 cm, 2015.

The Flow/Fall 2017 31 Finding New Collaborative Opportunities The future of collaboration moves on according to Claudio Pavesi, communications director for Studio Berengo. “At the mo- ment, GLASSTRESS 2017 is our main focus, but we are already working on new productions with some of the featured artists,” says Pavesi. “We are also working on new projects with The European Inter-University Centre for Human Rights and Democratisation (EIUC) Venice and its Global Campus of Human Rights to create an intense arts and human rights debate through the work of artists.” He shared that the work is long and ambitious, but has begun. “We are already joining forces, creating artwork, and doing events together. The project will probably peak in 2019.” Belgian artist Koen Vanmechelen and Chinese artist Ai WeiWei have begun projects with Studio Berengo. Facebook fans can keep up with them at www.facebook.com/fondazioneberengo. There you can see Ai WeiWei working on a Venetian chandelier with his own twist on the project. This piece, however, may or may not be included in the new GLASSTRESS. For more information on future Berengo projects visit Berengo.com. Flow glasstress.org

Featuring interviews and discussions with world-renowned glass artists and respected experts in hot, warm, and cold glass SALT on Talking Out Your Glass Podcast

Salt, who began flameworking in 2001, is known for his one-of- a-kind sculptured creatures. From spots and stripes, teeth and claws, to his trademark eyes, his detailed borosilicate sculpture has an undeniable hold on the functional glass community.

Visit the “Talking Out Your Glass Podcast” link on the Glass Art website to begin your free Stitcher or iTunes subscription Maria Grazia Rosin, Trifori e Bifori, glass, to this and many other steel, and iron, 55 cm x 150 cm, 2015. great podcasts.

32 The Flow/Fall 2017 The Wild Card Challenge is the last chance this year for glass artists to qualify for the 2018 Masters Finals in Las Vegas this February. For Info Contact Shawn Quine (818) 469-5997 • [email protected] Nortel What's Manufacturing Limited Glassworking Burners, Torches and Bethlehem Burners offers four different levels of torch repair options, including a General Clean- Glass Wet Cut Saws ing, Valve Replacement, Center Fire Replacement, MINI MILON and Manifold Upgrade or Replacement. Each torch BENCH BURNER receives a free diagnostic test upon arrival. Repairs only take between one and two weeks. For more information, call or visit the “Services and Warranty” link on the company’s website. 610‑838‑7034 www.bethlehemburners.com

Coatings By Sandberg (CBS) will be hosting Kate Rocks! in October 2017. This brand new CBS class will feature award- winning artist, Kate MacLeod, teaching how to use and fuse CBS Dichroic Extract and glow powders to create both pendants and “space rocks.” For details and more photos, phone or visit the company’s website. 7145380888 UNITORCH www.cbs-dichroic.com HAND TORCH Glass Craft & Bead Expo and the International Society of Glass Beadmakers (ISGB) are coming together for the second year in a row to offer another amazing opportunity in 2018. ISGB will be holding its annual conference, The Gathering, on April 3–8, 2018. Glass Craft & Bead Expo classes will be April 4–8, with the tradeshow on April 6–8. ISGB will add its Glass, Beads & Jewelry Bazaar to the tradeshow on Saturday, April 7. This all takes place in one location at the South Point Hotel & Casino in Las Vegas, Nevada. While the two events still operate independently of one another, the partnership will offer an unprecedented experience for glass enthusiasts. Details on each of these events will be available in the fall. www.glasscraftexpo.com www.isgb.org RED MAX BENCH BURNER Glass Art presents Talking Out Your Glass podcasts featuring interviews Surface Mix or Premix Topfire with world-renowned glass artists and experts in hot, warm, and cold glass. Artists discuss their background and techniques in a conversa- tional and entertaining way with magazine editor and host Shawn Wag- goner. Guests have included Lino Tagliapietra, Dante Marioni, Preston Singletary, Ginny Ruffner, Fritz Dreisbach, and many others, with a new episode every two weeks. Recent podcasts featured Judson Studios and its Resurrec- tion Window, the largest single composition fused glass window in the world, and Sarah Hall’s unique way of capturing usable solar energy in art glass windows through the use photography: dougbaldwinphoto.com of photovoltaic cells. Functional glass is celebrated in conversations with Banjo, Robert Mickelsen, and Salt. Visit the “Talking Out Your Glass” link on the Glass Art home page for a free subscription to iTunes or Stitcher to hear these fantastic interviews. Bench Burners 502222-5631 [email protected] Major • Midrange Plus www.glassartmagazine.com Minor • Mega Minor • Midrange Red Max • Rocket Glass Patterns Quarterly has a great fall lineup of Glass Expert Webinars™. These Hand Torches two-hour dynamic, interactive, online workshops Multimix • Unitorch Glass Expert Webinars™ feature movies and slide shows plus live commentary Twinfuel • Ranger from the artist instructor, all with no traveling required. Fall and Winter Webinars include:  416-438-3325 Copper Foil Techniques with Denny Berkery (Sept. 26), Screen Melt with Dennis Brady (Sept. 28), Joy of Fusing with Randy Wardell (Oct. 12), Screen Printing with Tony Glander nortelmfg.com (Oct. 17), Flameworking with Lisa St. Martin (Oct. 24), Fusing with Lisa Vogt (Oct. 26), Creating Accents and Artisans with Margot Clark (Nov. 7), Verre Églomisé with Peggy

34 The Flow/Fall 2017 Pettigrew Stewart (Nov. 16), Poppy with Craig Mitchell Smith (Nov. 28 and 30), Fused Glass Breakthroughs with Gil Reyn- olds (Dec. 7), Glass Weaving with Dennis COATINGS BY SANDBERG, INC. Brady (Dec. 12), Cutting Glass with Joe MANUFACTURER OF DICHROIC GLASS Porcelli (Dec. 14), and Fusing with Petra Kaiser (Dec. 19). For more details or to register for these classes and others, visit CBS 2017 the “Glass Expert Webinars™” link on the magazine’s home page. 502-222-5631 [email protected] Dichroic by Design Contest www.glasspatterns.com

Weaver Industries presents the 12-in-1 Marble Mold with Handle. Made from Show off your artwork using dense, fine-grain graphite, all of the CBS Dichroic Glass and win mold’s surfaces are machined 1‑15/16" to 2" x 4‑1/8" x 4‑1/8", with an overall thousands of dollars worth of length, includ- prizes! ing the handle, of 12". One side Categories include of the mold features cavities in Professional 1/4"-diameter Emerging Artist increments, with Dichroic Extract 1/8"-diameter in- Blown Glass crements on the flip side of the mold. The Lampworked Glass handle makes it possible for glass artists to Fused Glass flip the graphite to use the marble cavities Glass Jewelry on both sides of the mold without getting their hands dirty by touching the graphite. A Glass Sculpture porous carbon insulator sleeve at the bottom Glass Marbles of the handle helps to reduce heat transfer Architectural from the graphite. Miscellaneous 717‑336‑7507 [email protected] www.weaverind.com Entries must be received by CGBeads invites you to try the latest CG- November 17, 2017. Beadroller Twisted Texture bead mold. The BR-204 For complete rules & information, visit: Twisted Tex- www.cbs-dichroic.com ture mold, not your ordinary texture tool, has a concave trough that adds a twisted texture to the curve of a donut bead. Its companion tool, the BR-205, has eight additional bead size options including four 7 mm slots in 16x8, 17x8, 18x8, and 19x8 plus four 4 mm slots in 13x8, 14x8, 15x8, and 16x8. A demo can be found on the company’s website in “Demo Videos” under the “Info” drop-down menu. 940‑458‑8322 [email protected] www.cgbeads.com

Flow

The Flow/Fall 2017 35 Ryan Tanner Discovering New Techniques through Collaboration

by Sara Sally LaGrand Photography by Jeff Dimarco

walked into the repurposed Push Comedy Theater space and was hit withI the faintest aroma of fermentation from the libations served the night before. This bar/performance space was serving as a venue for demonstrations during the 2017 GAS Conference in Norfolk, Virginia. Be- hind black curtains in the back, the sounds of humanity signaled that a demonstration was about to begin. This was the demo by 30-year-old Ryan Tanner of Fairfax, Virginia, and he was about to show us how he carves glass in the tradition of 19th century cameos. There was no high-tech AV equipment any- where to be seen—just his friend, James Akers, standing ready to hover over him with a handheld webcam, a computer, and a projection screen to show us the intricate delicacies of his work. Hon- estly, none of that mattered—not the lack of AV equipment, the posh venue at a five-star hotel, or any fancy infrastructure. The room was almost full and continued to fill as Ryan began his work. With just a tub filled with water, a T-shirt, and a Foredam micromotor drill, the artist began by covering safety, then started to grind away a flat piece of black glass that he had fused with a 2 mm to 3 mm layer of white glass and previously sandblasted with a template of buttercut resist using a wallpaper pattern by Wil- liam Morris as design inspiration. This is the point when the magic began. He carefully followed the line of the pattern and carved the grooves deeper to create the semblance of shadow and depth with incredible detail.

Collaborative piece by Ryan Tanner and Snic Barnes.

36 The Flow/Fall 2017 Education and Inspiration Thomas Woodall and his brother George were recruited by Tanner began working in glass in 2007 while studying art at Thomas Webb & Sons to replicate classic images onto glass objects, Virginia Commonwealth University. While being attracted to the including a collection of perfume bottles now owned by The Corn- material, he sites that the expansion of his desire to work in glass ing Museum of Glass. The Woodalls enjoyed success, eventually happened while he was attending classes at both Pilchuck and The showing their work at the World’ s Fair. “When I saw Moorish Corning Museum of Glass. Even though he never studied with either Bathers by the Woodalls, I was completely dumbfounded,” Tan- of them, Ryan says he is inspired by the work of Jiří Harcuba and ner explained. “The ability for the glass to be so translucent and April Surgent, two artists who work in a traditional engraving lathe reveal shading through its levels of thickness in the engraving was style. His main love, however, is for the work of 19th century cameo so beautiful to me.” artists Thomas and George Woodall. “The time during which they His encounter with Moorish Bathers prompted Tanner to dive were engraving was a real renaissance in cameo glass that hadn’t into research. “Going through the rest of the museum, I saw other been seen since the work of the Romans,” Tanner says. examples of cameo work, but they all seemed to come from the same location and to have been created within a short time span. I asked myself what would cause an art form to peak and collapse in such a short period of time.” It became clear to Ryan that the influx of knockoffs in the form of cheap enamel replicas changed the marketability of the pieces from the Woodall workshop and others working in a similar aesthetic, something that continues to be a universal challenge for working artists.

Collaborative glass by Ryan Tanner and Sam Lyons.

The Flow/Fall 2017 37 Developing a Unique Engraving Style A course with artist Helen Millard at Corning in 2010 was pivotal in directing Tanner to the work he produces today. “I learned a lot about the potential of engraving with a hand rotary tool and pur- chased my own shortly thereafter.” Much of his early work focused on engraved pendants, but pipes dominate his current body of work. “I started out making cameo engraved pendants,” Tanner says. “To my knowledge, I was the first person to engrave borosilicate glass in the style that I do, so I had a lot of ‘proving’ to do before other artists would trust my work.” Tanner credits the faith of a few industry friends with giving him the opportunity to showcase his abilities. “I was lucky to have good friends who took a leap of faith in a direction that could’ve been a waste of time. Now it’s a tried and tested technique that artists seem much more comfortable engag- ing in, but it’s all thanks to those first few friends that had the courage to give my work a chance.”

Expanding Creative Possibilities through Collaboration Currently, the focus of Ryan’s work is collaborating with fellow flameworkers from his peer group. Much of the scope of his glass art is in elaborate functional pieces. The relaxing marijuana laws in the United States have created new exposure for artists working in this genre who have become more fantastical and mystical in their creations. Tanner’s technique lends itself well to highly decorated pieces that jump the aesthetic a few notches higher. “I’ve spent a lot of time working at the torch and using other glassmaking processes, but each technique is extremely specialized and takes consistent practice to stand out from the pack. I’m lucky to be in a community that encourages collaboration. There are so many artists studying specific techniques in glass that I couldn’t replicate if I wanted to. Collaborating allows me to work with other artist’s forms, patterns, and overall styles in a way I would never be able to recreate by myself.” Flow www.ryantanner.info

Saki bottle by Ryan Tanner Ryan Tanner and Elbo, Microscope collaborative piece. and T.K. Happa. © Copyright 2017 by The Flow. All rights reserved. 38 The Flow/FallFlow/Fall 2017 Color, Tools & Supplies COE 33 and 96

866-448-1199 HotGlassColor.com | Seattle, WA

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The Flow/Fall 2017 39

� Jennifer Caldwell & Jason Chakravarty Collaborative Inspiration

by The Staff of The Flow Photography by Tami Meader

he early lampworked pieces created by Jennifer Caldwell, alsoT known as Jennifer Umphress, deal in ocean themes that capture the hyp- notic, calming motion of aquatic rhythms. Growing up in coastal California and having spent her early adulthood on Maui, Hawaii, the ocean has long provided a source of inspiration. Since her migration from California to Ha- waii, and finally to Kingston, Washington, in 2006, the artist has considered how this change in environment has affected the forms, colors, and themes through which she interprets the world around her. “Coming to the Seattle area greatly shifted both the influences on my art and my perspective in relationship to it,” she shared. “It exposed me to different glass media and to more art in general Jennifer Caldwell and Jason Chakravarty, Beneath than I’d ever seen. Time, practice, and that broader exposure are the big- Levels Between Layers (detail), cast and flameworked gest contributors to developing my artistic vision and a personal voice.” glass, 13" x 13" x 4".

40 The Flow/Fall 2017 Beginnings in Glass Jennifer began her glass art career in 2000 as an apprentice in a “I love that you can do so much with it. My pieces go in and small production retail business in Maui, Hawaii, and still appreci- out of the kiln fifteen or twenty times each. I am constantly piecing ates that beginning. “A friend got me the job, and I apprenticed for things together. A lot of my work derives a huge advantage from my four years in a shop that was production driven making objects for working it hot or cold and redoing the object in the kiln.” Working the tourist trade. I often think it must be harder to go directly into in borosilicate glass has its disadvantages as well, however, due to creative art. It’s difficult to develop confidence in your artistic vision the limits that boro has on size and color compared to other types when you are still stumbling over your lack of technical ability and of glass. expertise.” That first job introduced Jennifer to her passion for glass and sharpened her technical skills, which she learned by rote. From there, she moved on to finding her own voice and creating pieces that are more individual. An apprenticeship with Cesare Toffolo in Murano, Italy, as well a residency with Silvia Levenson at Pilchuck Glass School and Jennifer Caldwell and Jason Chakravarty, the chance to work with Janis Miltenberger and Robert Mickelsen Content with Intent, cast glass provided Jennifer with excellent opportunities with flameworked component, to expand her techniques. Her preferred medium to date has been borosilicate glass because of its versatility.

The Flow/Fall 2017 41 Exploring Collaborative Art Caldwell also had the opportunity to further develop her tech- Caldwell and Chakravarty recently collaborated on several niques through her work with Jason Chakravarty, an Arizona-based ocean-themed pieces that were featured in 2016 at Vetri Glass in mixed media artist who earned his masters degree from California Seattle, Washington. The exhibition, Six Months at Sea, which ran State University, Fullerton. The majority of Jason’s work is done from October 6 though 31, 2016, featured a magical body of work in cast glass and often incorporates neon for illumination. While created by the duo that was intended to take viewers on a journey material and glass, especially, are important to Jason’s work, his to experience the solitude of spending six months at sea. emphasis is with the narrative that can be incorporated into a piece of In this new body of work, Caldwell incorporated Chakravarty’s art. His most recent works are somewhat autobiographical and reflect signature cast glass and experimented with cast metals and applied on human relationships, communication, and social networking. surface textures. The resulting glass art presented a conceptual nar- Jason, like Jennifer, has advanced his techniques through work- rative and encouraged viewers to discover personal meaning within shops at respected educational glass schools, including Pilchuck, the abstract arrangements of imagery and layers of symbolism. Pittsburgh Glass Center, and Penland School of Crafts. He, in The series was created by the artists as they covered 17,000 miles turn, passes on his techniques in neon and kiln casting by teaching crisscrossing the United States while traveling internationally to workshops nationwide at such institutions as Urban Glass, Cleve- teach at various glass and studios. They continued their travels after land Institute of Art, Pittsburgh Glass Center, and Penland School the opening of the exhibition in order to take part in the Niijama of Crafts. He has also taught on a international level in Turkey and International Glass Art Festival in Japan. Israel, and his work has been shown in more than 100 exhibitions.

(Left to right) Jennifer Caldwell and Jason Chakravarty, Dynamism, blown and flameworked glass and steel, and Savory Rondezvous Ron Day Vu, flameworked and cast glass.

42 The Flow/Fall 2017 Jennifer Caldwell, Uni, cast glass with flameworked components, 10" x 10" x 8". An Artist’s Words of Wisdom Caldwell has taught workshops worldwide including Japan, “Working with the constant motion associated with hot glass Amsterdam, Turkey, Israel, and the United Kingdom. She has also forces me to intuitively engage with the material, thus creating a taught at the Corning Museum of Glass, Penland School of Crafts, constant collaboration between the material and myself. This is a Pilchuck Glass School, and Pittsburgh Glass Center. Her work connection that happens between my conscious and subconscious, has received several awards including the Rosen Group’s NICHE my mind and hands, the motion of the material and my own emo- Award for Lampworked Glass in 2009 and the Glasscraft Emerg- tions, resulting in a physical object that conveys my essence.” ing Artist Award in 2010. She was also named Artist of the Month Flow in January 2017 by the Art Alliance for Contemporary Glass and www.jennifercaldwell.net recently had these words of wisdom to share regarding the nature www.jasonchakravarty.com of glass, her great love. “Glass is at once fragile and strong, beautiful and dangerous, full of movement and static. These paradoxes lend themselves to speaking of conflicting ideas that inevitably accompany each other in the mind throughout life’s experiences. “Humor, whimsy, and imaginations are a cathartic aspect of my studio practice that allows me to address more serious emotions from a place of playfulness. In my work, I observe objects from the world around me and convey ideas by identifying aspects of these objects that I am drawn to. Color, form, and historical meaning become a Jennifer Caldwell and Jason point of departure and focus, while aspects that make these objects Chakravarty, Corroborate live or function in reality become secondary or completely denied and Exhale, cast and flame- during the creative process. In this way, objects from my experience worked glass. become beautiful, yet nonfunctional, or are combined in a way to see the paradoxes through which I view the world. © Copyright 2017 by The Flow. All rights reserved.

The Flow/Fall 2017 43 MountainMountain InspirationInspiration

ountains to Leslie Rowe-Israelson and Ryan Bavin are special The spheres and vessel forms created by Leslie and Ryan are places of intense power that affects them deeply. Tranquil a personal reminder of memories forged with time, places, and Mbeauty set within dramatic backdrops of cascading rivers, meadows people they have met along mountain pathways. The pieces they bursting with color, and towering peaks of ice and snow, provide have worked on together also symbolize a strong commitment to the setting for personal experiences that are unforgettable and often respect and preserve the most beautiful and wondrous places in the life changing. world—mountains.

44 The Flow/Fall 2017 Leslie and Ryan have both lived and worked in the mountains. Leslie had years riding horseback through the Rocky Mountains with her husband and mountain guide, Gerry Israelson, and Ryan has worked and lived in the Rocky and Purcel Mountains his whole life. The chance to work together has been such a blessing for Leslie, who has great respect for Ryan’s expertise in the hot shop. The spheres remind Leslie of close-ups of rugged cliff faces. Her husband being head of Search and Rescue for Jasper National Park until 1998 has also given Leslie such a deep-rooted appreciation of the crevasses that Gerry held onto while climbing and searching for lost souls.

The Flow/Fall 2017 45 ColorColor BarBar CollaborationCollaboration From the Kiln to the Hot Shop

Text by Leslie Rowe-Israelson, Demonstration by Leslie Rowe-Israelson and Ryan Bavin Photos for Collaborative Artists Profile and Tutorial by Kimberley Rae Sanderson

reating in a collaborative spirit brings out the strengths in all of Cus, and this can be powerful. It is a time of learning, expanding the mind, and initiating an exchange of ideas, techniques, and 3 process. Artists can open new doors and head in new directions in the spirit of sharing and expanding their visual voices. When the cooling Included here are the steps that Ryan and I followed from start is completed, slice to finish. I hope it will stimulate some of you to work with a studio the large color bar of your choice and get involved in the process of creating these into sections. beautiful, unique bars. 4 Load scrap glass Once the slices and frit in colors 1 are finished, take of your choice into them to the hot shop a kiln form to create and put them in the large kiln cast the annealer. glass color bar.

Because I have used 90 COE glass in this bar, I put in clear When it’s finished, the color bar will be sliced into sections that chunks to pick up first on the blow pipe so that it will all be the will be blown out in the hot shop. The color bar technique allows same coefficient of glass. you to strip away the layers of color created when the glass scrap and frit are stacked and melded in the kiln, then use that color to create paintings of light in glass. You can find complete instruc- Take the glass tions for creating color bars in my Skills and Techniques article block to the glory 5 published in the January/February 2012 issue of Glass Art, a sister hole and heat it publication of The Flow. throughout before taking it to the marver to shape it before 2 blowing it out. Fire the color bar in the kiln to 1480°F and hold for one hour. Once the glass 6 is completely heated and shaped, Drop the kiln in heat as fast as possible and anneal the bar at blow into the blow 960°F (for 90 COE glass) for the thickness of the glass. Continue pipe to complete the down in temp 20 degrees/hour for a piece 2 mm or 3 mm thick, shape of the vessel then go down 25 degrees/hour to room temp—the long, slow road form. to coolness. 46 The Flow/Fall 2017 KNOWLEDGE IS POWER TIV REA ITY C IS

Your Ana-Maria Nava FREEDOM His Glassworks, Inc. Subscription 2000 Riverside Drive, Suite 19 Asheville, NC 28804 USA Any Way p 828 254 2559 tf 800 914 7463 You Want it www.hisglassworks.com • Print • Digital PDF • PDF on CD A glass journal for the flameworking community www.TheFlowMagazine.com 502.222.5631

THE BRAVO Bethlehem’s most versatile and efficient flame working torch ever made.

The Flow/Fall 2017 47 Check the dimensions to 7 make sure you are happy with If we the thickness and evenness of the don’t blown out piece. have it, we can make it. Play with the 8 piece, molding it into new shapes using large cork pads, until you are totally pleased with the results.

Flow www.twinvision.fusedglassartists.com www.bavinglass.com www.weaverind.comwww.weaverind.com Everything we produce is made with pride by craftsman in the United States.

Working closely with her twin sister Melanie, Leslie Rowe-Israelson lives and creates glass artwork in the heart of the Canadian Rockies. Beginning in 1989, the twins spent years educating themselves at Pilchuck Glass School and went on to become instructors at Pilchuck, The Corning Museum of Glass, Red Deer College, and many other world- class glass programs. You can find their work at Canada House Gallery in Banff, Alberta, Canada, and on the gallery’s website at www.canadahouse.com.

Soon after Ryan Bavin’s father, glassblower Pat Bavin, opened Bavin Glassworks in the spring of 1988, Ryan began to show an interest in learning about glassblowing. He started an apprenticeship with his father at the age of 15, making his way to the family’s hot shop on weekends and after school. When he graduated in 1991, Ryan spent more time in the hot shop, continued to learn about blowing glass, and attended several classes at Pilchuck Glass School. The artist continues to blow glass in the family’s new, larger facility outside of Invermere, British Columbia, Canada, where they have been since May 2001. Visit www.bavinglass.com to learn more about the custom work created by Bavin Glassworks.

48 The Flow/Fall 2017 Parallels Between Hot Glass & Human Existence

The Village Iterate

• It’s probably better not to attempt to impose your will on the glass. Working with glass is like raising a teenager. Imposition by force of the will leaves scars, wrinkles, chill marks, and permanent reminders of the forcible process. You’d probably do better to set up conditions within which the glass will act in a manner consistent with your desires. Develop a deep understanding of the material so that you know without thinking what it requires. • Work toward muscle memory, because your mind is going to go, sooner or later. If you can execute without actual thought, then your technique becomes transparent and your audience will be able to see what you’re saying without focusing on how you’re saying it. If your customer tells you how well you’ve done the work, then you haven’t actu- - Glass Alchemy, Northstar, Trautman, Momka, ally done it well enough. • Some of us are born with talent, some not so Origin, Golden Gate, CBS much, but repetition leads to skill, which leads - Simax Tube and Rod to excellence. You’ll be able to develop a very high - Torches, Tools skill level through relentless practice. Style is the natural by-product of excellence. Don’t try so hard and Kilns to create, discover, determine, develop, reveal, or uncover your style. Seek, rather, to excel and your style will naturally appear. • It’s generally worth the time to build good quality bridgework, even though it’ll never be seen in the finished work or even be recognized to have existed. It’s often the only way to create work that is structurally sound as well as visually and aesthet- ically pleasing. The bridgework will be discarded when it has served its purpose, but you wouldn’t be artist B able to create certain pieces without it. eau Tsai Flow Excerpted from the book Parallels Between Hot Glass & Human Existence WHOLESALE Pricing & Quantity www.dlartglass.com Discounts Celebrating 40 years! facebook.com/DL4boro © Copyright 2017 by The Flow. 800.525.0940 All rights reserved. Denver, CO

The Flow/Fall 2017 49 Space Tech with Multiple Windows, Blow-In Style

Text and Demonstration by Dr. Whitestone and Rhoades Glass Photography by Bobby Coutu, Q2 Photos

hether you want to make some cosmic pendants or collaborate on a spacey ves- Wsel, you need great tubing. Here’s the way to do it. Before you begin working on the tubing, prep the materials you will need by cutting the 12x2 clear tubing into multiple sections around 6" to 7" long and the 7 mm clear rod into 4" to 5" sections.

For the Tubing Northstar Glassworks NS-125 Jet Black Pulled Tubing Additional Glass 44x4 Clear Tubing 12x2 Clear Tubing 7 mm Clear Rod Tools and Material Graphite Reamer Ear Plug Diamond Edge Cutter Silver Gold

For the Windows Northstar Glassworks NS-054 Star White Rod Additional Glass 25 mm Heavy Wall Tubing 12 mm Heavy Wall Tubing Blow In from Dr. Whitestone Tools and Materials Graphite Paddle Graphite Pad Graphite Reamer V-Necker Shears Tweezers Blow Hose

50 The Flow/Fall 2017 Making the Tubing 6 Melt the silver 1 on the end of Plug the a 7 mm rod, place 12x2 tube with that end in the kiln, the ear plug. and do the same for the gold.

These will become the fuming rods. 7 2 Fume the Attach a 44x4 tubing. section of 12x2 clear tubing onto an open end of the 44x4 clear tubing. Fume the inside of the 44x4 with the gold first by putting a fairly propane-heavy small flame through the gold fumer and into the 44x4. The can should turn pink in the light. 3 Close the 8 other end and Repeat with heat the 44x4 the silver, this section with a large, time using less soft flame. propane and a little more “top” oxygen.

This is applicable if you are using a GTT Torch. The goal is to “spray” some of the silver inside the 44x4. Place the piece in the kiln. Gently blow 4 out the glass to form a light 9 bulb shape with the bottom attached to the open blow tube.

Open a hole 5 Attach some 12x2 clear tubing dead center onto the open end of the Northstar on the closed end Jet Black tubing. of the 44x4 and widen the hole with the Pull off some of the Jet Black to work into a hollow ball. graphite reamer. 10 The widest edge of the 44x4 needs to be even with the edge of the Fume hole. similar to step 7 onto the Jet Black ball.

The Flow/Flow/FallFall 2017 51 11 Take the 44x4 16 out of the kiln and start to heat it and the Jet Black ball in a big flame.

Once the black ball touches the tubing, 12 blow harder. Remove the Let the bottom expand into the ear plug. 12x2 and the top overflow out of the 44x4.

Pop a hole 17 in the black ball near the top of the 44x4 13 where the black Once the and clear meet. 44x4 is warm and the Jet Black ball is molten, take both Use the reamer to seal the out of the flame. black to the clear.

Hold the 44x4 with the 12x2 pointing down. 14 Take the ball and put it inside the 44x4 tubing without touching the sides of the 44x4.

Start to 15 “blow in,” watching for the widest part of the ball to touch the middle of the inside of the 44x4.

52 The Flow/Fall 2017 GLASS ART SOCIETY

The ISGB is the leading organization for the promotion, education, JOIN US IN MURANO, ITALY and appreciation of the For the GAS conference art of glass beadmaking for wearable, sculptural May 16-19, 2018 and functional art. IlIl PercorsoPercorso didi VetroVetro -- TheThe GlassGlass PathPath

Glass Bead Evolution THE ISLAND OF MURANO, ITALY will host the 47th annual is a quarterly digital Glass Art Society conference! The Glass Path will lead attendees through magazine, included in the winding path of the island’s remarkable history while exploring ISGB membership. the future of glass and discovering the hidden routes connecting the Back issues are conference venues. A selection of Murano’s glass factories and studios available for purchase at www.isgb.org will provide the Glass Art Society with the incredible opportunity to use these facilities as venues for the conference. Attendees will also Join today to begin your subscription and partake in highly anticipated GAS conference programs including glass take advantage of other member benefits like demonstrations and lectures on inspiring glass topics, and also enjoy vendor discounts. special programming unique to Murano while surrounded by the beauty of the region of Venice. www.isgb.org | 614.222.2243 6512 - 23rd Ave NW, Suite 329, Seattle, WA 98117 206.382.1305 www.glassart.org [email protected]

Order Your Copy Now! “Milon Townsend has presented another gift to the collective lampworking community with his book Advanced Flameworking, Vol. II: Dichroic Coated Glass. We are given a window into the mind of a tireless craftsman with this unabridged list of technical methods using dichro. The reader is presented with various innovations, practical executions, and a multitude of uses for dichro. The detailed, thorough, and organized list of shortcuts and how-to sequences is not just a list of uses and possible out- comes for dichro. This book also acts as an ambassador to this often misunderstood and difficult to work material, while giving the reader an outline using the Townsend method of breaking down and executing lampworking techniques. In short, this book is not just about using dichroic coated glass. In the tradition of Advanced Flameworking, Vol. I, it gives the reader a foundation to problem solve and create, as a lampworking artist or craftsman.” Salt, 2017

Advanced Flameworking Vol. II: Dichroic Coated Glass contains nearly 2,000 color photos and comes spiral bound in an 8.5" x 11" format for ease of use on the work area. This 126-page volume, the first new major book from Milon Townsend in 15 years, offers significant new flameworking technologies and innovations. www.thebluemoonpress.com

The Flow/Fall 2017 53 Make sure this is a solid connect, since it will need to handle some pressure. Using either a V-necking tool, the edge of a graphite 18 L-marver, or diamond shears, neck a small 1" section of tubing. While this section is still hot, wiggle both ends at the necking Attach the point, wait for it to cool, and make a quick bending motion to snap 12x2 tubing to the two sections apart. This should produce a clean opening, from the can. which you can section directly. Clean the rim of any nasty residue from the snap. Do this as many times as the number of windows you want to make. We chose three. Heat the rim of the can and let it constrict to the size of the 12x2. Attach the 12x2 onto the constricted end and start to heat the whole can. Start near that seal and move slowly to the other side, pushing out 21 Add white any air bubbles. stringer to the edge of the lip of 19 the opening.

Pull a stringer about 2 mm to 3 mm thick from the Star White rod. You could also use any other color of your choosing. With an oxidized flame—color permitted—use the invisible heat to gently melt the stringer around the edge of the lip that was made on the opening of the 25 mm sections. Work the glass into a nice, thick piece of space tubing and pass Melt in the it off to the next stage. lip wrap and 22 paddle it flat.

Be wary not to overpaddle. You can push the color past the edge, which will make it very difficult to keep a clean line between the two sections. Do this for all of the sections.

Window Tech 23 Taking your Preheat the tube with an annealing flame—high-propane with a section, mark small amount of oxygen for flame pressure.This will ensure that a three evenly spaced long section of tubing will not crack due to thermal shock, stress cre- spots by blowing out ated by the rapid heating of glass next to a relatively colder section. a slight bulge.

Here we are using the Dr. Whitestone blow-in from earlier in the 20 tutorial. Doing this now will ensure that your windows are spaced properly even after you start adding sections.

Attach and fuse a solid punty to the end of the 25 mm tube and neck a small section of the tubing.

54 The Flow/Fall 2017 24 Use the 29 Blow open marver pad, the first hole and if needed, to cool ream an even opening the clear sections to the size of the lip more rapidly than on the clear sections the rest of the created earlier. colored glass.

This is necessary, since the clear wall will move faster than the 25 color. Carefully apply an even 30 heat around both lips of the large Finish shaping and small sections. your work.

Just outside the flame, from back to front, roll the small clear section onto the lip of the large section to ensure the line up. Now that you have your surface design work done and all the wall weight is even, you can shape your design into a finished product. I turned this section into a bottle by pulling out a slight 26 taper on one end of the enlarged section. A nice, even heat base is essential to ensure even wall weight and symmetry. Let’s see what you can come up with! Flow Instagram @dr.whitestone_glass Instagram @rhoadesglass

Utilizing off-axis rotation, heat the Jeff White, aka Dr. Whitestone, area around the fresh incalmo and has a degree in film production from blow out. Burlington College. While attending school, he took on a job editing a When this is even, blow open a new hole where you marked documentary for Bern Gallery’s Pipe Classic. Ten years and nine them from earlier and repeat for all of the windows. DVDs later, Jeff is a lampworking instructor and custom artist working from Bern Gallery in Burlington, Vermont. You can fol- low his work on Instagram @dr.whitestone_glass. 27 Currently residing in the beautiful Green Mountains of Vermont just outside of Begin a slow, Burlington, Stephen Rhoades, aka Rhoades even heat. Glass, has been behind the torch since September 2010, when he first melted glass at Diablo Glass School in Boston, Mas- sachusetts. His dedication and enthusiasm for the medium didn’t go unnoticed, and You will need to focus the heat in and out of the low spots of he quickly earned a position at Diablo as the section to achieve an even bubble. a teaching assistant. Stephen returned to the University of Vermont as a studio art and business student to further his under- 28 standing of how business and art could successfully blend together. Continue to At the same time, he began working as a production artist and heat the section, eventually a custom artist for the Bern Gallery, where he learned blowing it out into hollow body and functional glass techniques. In 2012, he built his a bubble and first studio and continues to focus on the basics, learning not only condensing slightly how the glass moves but understanding why it moves. multiple times. © Copyright 2017 by The Flow. All rights reserved.

The Flow/Fall 2017 55 Collaboration in Fiber and Glass Sharon Peters and Shirley Cook

by Sharon Peters Photography by Len Cook

he pieces shared here were made for the Hands of the Maker 2 exhibition, part of the 2016 International Society of Glass Beadmakers T(ISGB) Gathering in New Orleans, Louisiana. The challenge for Shirley and me—to merge glass and felt, hard and soft, and two wildly different techniques and aesthetics into balanced designs that reference both of us. Such fun!

Beginning the Process I work with Murano glass rods, flame, ideas pulled from culture, and puns to create graphic cartoon characters with back stories. Shirley works with hanks of wool and a vision of color and form, then hand works the raw fiber into fabulous pieces of felted art. To start, I supplied idea sketches for vessel and pendant shapes with faces, hands, feet, and birds. Shirley picked two vessel ideas to play with, and I began working on the glass components. As she created the felted forms, Shirley incorporated my glasswork and embellished the pieces with bead embroidery. When we decided they had to be “working” vessels, I made birds, nests, eggs, and flowers, and we worked together to figure out supporting armature structures.

Sharon Peters and Shirley Cook (left to right) Dumpty Upcycle, Morning Song, Full Moon, September Song, Midnight Bloomer, and Fly Me to the Moon.

56 The Flow/Fall 2017 Finishing Touches As we continued the project, we talked and e-mailed daily and met weekly to edit, modify, discard, and reimagine the designs as well as the fiber and glass elements. As each piece neared comple- tion, we designed the next pieces to fit into a collection that was beginning to come into focus. I continued creating glass components, and Shirley turned them into embellished, felted pendants and brooches. Mixing glass and fiber and figuring out the armatures to support the glass inside the vessels was a major challenge. This was a fabulous collaboration, and we’re proud of the results we achieved. Working together, we were able to unify the colors and elements, balancing the glass and fiber content across all six pieces. We now have a wonderful, cohesive collection that embodies both my love of whimsy and Shirley’s tendencies toward the earthy and organic. Flow smartassglass.com www.jumpingjackglass.com

The Flow/Fall 2017 57 The Development of Prosthetic Eyes The oldest known prosthetic eye, thought to have been made around 2800 BC, was found in Iran and is made of a painted piece of clay. The clay was attached to a cloth and worn over the eye socket. The first prosthetic glass eyes that we know about were crafted by Venetian lampworkers in the late 16th century, but these were said to be awkward, heavy, fragile, and uncomfortable. One of the biggest problems with the Venetian eyes was the fact that the glass would be broken down over time by the tears of the wearer. Eventu- ally, the surface of the glass would become rough and irritating, and it had the potential to infect the eye socket. French lampworkers were making glass eyes in the 17th and 18th centuries, but they, too, struggled with the glass composition. In 1835, a German lampworker, Ludwig Mϋeller-Uri, began making very realistic glass eyes in the town of Lauscha, which also happens to be where the glass Christmas ornament was first invented in 1847. The little mountain village sits in the Thuringian region of eastern Germany and was originally settled by two families of glassmakers in 1597. Mϋeller-Uri was a descendant of one of these families. He had a great deal of experience working with glass and The Curious Glass Eye had the opportunity to study the human eye with a local ophthal- mologist. Through the course of his career and beyond, Mϋeller-Uri and his descendants worked with local glass chemists to develop An Historical Tutorial specific glass compositions that would work best for imitating the details of the human eye. Lauscha Glass Ranging from 104 to 178 COE Some of the advancements these Lauschans made with their Combination of Very Stiff and Soft Colored glasses include adding the mineral cryolite to the white glass tubing Glasses of Varying Colorants and Viscosities to make it resistant to the degrading effects of tears and developing Black Rod glasses of different viscosities to mimic the dimensionality of the Clear Rod human iris. They also created an incredibly vibrant ruby-red glass Ruby Red Rod to mimic the blood vessels and veins of the human eye. White Tubing with Cryolite During the late 19th century, it was not uncommon for German glass eye makers to visit the United States and other countries to Tools and Materials see patients and create their prosthetic eyes on the spot. Eventually, Carlisle CC Burner a few Americans did learn the craft, but they were reliant on the Flat Metal Tool specialized German glasses to make their products. When World Tweezers War II broke out, it was no longer possible to get these specialty glasses exported from Germany. Because soldiers were returning from war with injuries that needed attention, the U.S. government was determined to explore other possibilities for these prosthetic Text and Demonstration by Eric Goldschmidt, eyes. During that time, it was discovered that acrylic worked quite Flameworking and Properties of Glass well. Nowadays, most prosthetic eyes are made of acrylic, but in Photos Courtesy of The Corning Museum of Glass Germany it is still common for patients to be fitted for glass eyes.

e opened a new exhibition on April 18, 2017, in the atrium of our Rakow Research Library here at The Corning Museum Wof Glass. Curious and Curiouser: Surprising Finds from the Rakow Library features all sorts of unique and inspiring materials from our library’s collections. Items as varied as advertising posters for performances by itinerant glassblowers, design drawings for Steuben Glass pieces, and materials about glass and the dead can be found in the exhibition. But our flameworking team’s favorite Rakow finds are advertisements and product samples from prosthetic glass eye manufacturers Queen and Co. of Philadelphia, Pennsylvania; Demuth Brothers of New York City, New York; and L.W. Schaufuss of Dresden, Germany. To support the exhibition, our team has been demonstrating our best interpretations of the process, which is still being used by German prosthetic glass eye makers today.

58 The Flow/Fall 2017 Continuing the Tradition In 2013, I was fortunate enough to visit the studio in which Mϋeller-Uri’s descendants are continuing the glass eye tradition in Lauscha. To become certified as a glass eye maker or “ocularist,” Heat and 4 one must go through a six-year training program that involves les- inflate the sons in both glassmaking and the physiology of the human eye. We bubble into have not been able to find any written instructions on the process. a sphere. However, after witnessing the process, watching some short video pieces on aspects of the process, and gaining some input from glassmakers in Lauscha, our team of flameworkers at Corning is producing some nice results. For our museum demonstrations and this tutorial, we have been using the glasses developed in Lauscha. You may notice that the Remove the white cryolite tubing continues to strike and unstrike throughout closed point 5 the process. It will strike fully opaque during annealing. end, leaving the German ocularists typically work on a gas/air torch, but it is wall thickness even possible to set effective flames for this process with most gas/ throughout the oxygen torches as well. You may notice that I have a relatively bubble. cool gas/oxygen flame running on a Carlisle CC burner for much of this tutorial.

Making Prosthetic Eyes Add a dot 6 of the iris background Pull a few color. filigree canes 1 with 2 to 3 colors over a clear base to a 2 mm to 3 mm diameter for the iris.

We mixed a combination of the very stiff and soft Lauscha 7 colored glasses and twisted them very tightly. The tighter the twist, the finer the details in the finished iris. The combination of glasses Reheat the dot of differing viscosities helps to give greater dimensionality to the and inflate the iris. It also causes a textured effect in your filigree. glass gently so that a small air cavity is formed behind the dot. Pull a stringer of 2 black glass to a 1 mm to 2 mm diameter.

Pull points with a 1" 3 length of tube from shoulder to shoulder.

The Flow/Fall 2017 59 Keep 8 heating the 12 white tubing around the iris, gently using surface tension to get the iris to settle into the rest of the hollow sphere.

Apply thin, quick strokes The bubble may need to be inflated intermittently throughout of the twisted cane over the this process to retain the proper overall shape. Notice that the iris iris background. is no longer in relief, set apart from the white.

The strokes of the cane should begin just inside the outer bound- ary of the iris background color, and they should terminate right in the center. This can be done in several layers for more detail. When 13 applied correctly, the lines of the cane are pulled quickly enough that they untwist and straighten out. This gives the proper radial pattern effect of a real iris.

Melt the 9 Once the iris is settled back into cane strokes the white sphere, add a black dot into a smooth for the pupil, gently heat around surface. the iris, and press the pupil flush into the iris.

If the black glass is overheated, it will spread to have the ap- pearance of a dilated pupil. It is helpful to touch a metal tool to the As the pattern is melting in, it may try to shift from center. It is black dot and chill the dot with the metal for a second, then push helpful to touch the very tip of the cane to the center of the pattern the black dot into the still soft iris. and pull the pattern to center. This pulling and recentering may have to be done a few times throughout the process. 14 Inflate the iris gently as 10 it continues to melt in smooth to retain the original hollow space behind the iris. Add a thin layer of clear to cover the entire iris.

It is common that when covering the iris with the clear glass, Heat the too much clear will build up. It may be necessary to peel off some white tubing 11 of the excess without shifting the other details. around the edges of the iris and gently inflate that area while Work the trying not to further clear into a 15 expand the iris. flush surface with the sphere in a similar fashion as used for the Notice how I have focused the heat and inflation toward the iris, using surface middle of the bubble, trying not to get the iris very hot. tension.

60 The Flow/Fall 2017 For the blood vessels 16 and veins, pull the very tip of the ruby-red glass to an extremely thin stringer.

The red glass must be pulled very quickly to achieve a stringer that is thinner than a human hair. It is easier to handle such a thin stringer if it is left attached to the rod from which it was pulled.

Eric Goldschmidt is the Properties of Glass Programs Supervisor at The Corning Museum of Glass. He has been 17 working with flameworked glass since 1996, when his room- Apply the mate introduced him to the torch. Previous to his current blood vessels position, Goldschmidt was the resident flameworker at The to the white Studio of The Corning Museum of Glass and a flameworker of the eye. for Arribas Brothers Company at Disney World. Eric has studied with and assisted many of the world’s most talented glass artists. These experiences have given him Set the flame a bit softer (less thrust of the gases pushing the a vast array of techniques from which to draw. He combines flame) to apply the very thin stringer without the flame blowing it this wealth of knowledge with his own interests in the subtle around too much. While keeping the eyeball in the very back of the energies of the natural world, delicate forms, and intricate flame, wave the stringer back and forth to get it randomly applied color application to create original new works. to the white of the eye. 18 Once the red stringer is applied, reheat the bubble to melt the stringer in flush to the surface and inflate as necessary.

True prosthetic glass eyes are not ball-shaped, but are more of a cupped wafer shape and are finished in either of two ways depend- ing on the comfort level of the patient. They are either cut and cold worked, or the ocularist heats the bubble selectively and inhales to shrink parts of the bubble until it is a two-walled wafer shape. Before we received our order of specialty glasses from Lauscha, we practiced the process with borosilicate glasses, and they worked quite well. There are a number of different ways in which flameworkers are making decorative glass eyes these days. It would be great to see how this process might be incorporated into the decorative arts as well. Flow www.cmog.org

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62 The Flow/Fall 2017

INTRODUCING THE Artist NEW Marcel Braun MICRO SCARAB

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