British Society of SCIENTIFIC GLASSBLOWERS VOLUME 54 October 2016 No. 4
- C O N T E N T S -
Ed's Crack 107
Company Profile 109
Pilchuck Glass School 111
ASGS Annual Symposium 114
Book Reviews 119
GAS 2016 - A Review 126
Fibre Optics 146
Elements - A Review 147
PLP Retirement 150
BSSG Chairman’s last message 151
DEADLINE FOR NEXT ISSUE - November 15th 2016
B.S.S.G. JOURNAL - VOL 54/No. 4 105 www.bssg.co.uk
British Society of SCIENTIFIC GLASSBLOWERS Founded 1960
Please could all communication on BSSG matters eg. competitions, training, membership etc. be with the BSSG Chairman in the first instance. Thank You. BSSG SOCIETY CHAIRMAN Robert McLeod Glassblowing Department S.U.E.R.C Scottish Enterprise Technology Park Rankine Avenue East Kilbride G75 0QF
Tel :- 01355 270150 Email :- [email protected]
HON. SECRETARY HON. TREASURER SOCIETY LIBRARIAN - Position vacant - Phil Jones - Terri Adams - Minerva Glass Design & Fabrication Facility, Bloomfield Close, University of Oxford, Timsbury, Inorganic Chemistry Laboratory, Bath, South Parks Road, BA2 0LP Oxford OX1 3QR
Tel: 01225 385513 Tel: 01865 272609 Email: [email protected] Fax: 01865 272690 Email: [email protected]
JOURNAL EDITORIAL MATERIAL ADVERTISING MATERIAL Ian Pearson Graham Reed Journal of the B.S.S.G. Hunter's Oak, Trendle Lane, Glendale, Sinclair Street, Thurso, Bere Alston, Devon PL20 7HT Caithness, Scotland KW14 7AQ Tel: 01822 840002 Tel: 01847 895637 (Evenings & Weekends) 07484 112300 01847 802629 (Business hours) E:mail: [email protected] Fax: 01847 802971 Skype: grahamsciglass13 E:mail: [email protected] [email protected]
The Journal is published by the B.S.S.G. every quarter and is available to members free. It is also available to others at subscription rates. Apply to the Society Office. Copyright to B.S.S.G. and contributors
106 B.S.S.G. JOURNAL - VOL 54/No. 4 f a unicorn without a horn is a horse then can a horse grow a horn to become a unicorn? I only ask as I received a request to make three glass Iunicorns from the director of a play to be performed at this year's Edinburgh Festival. Titled “The Glass Menagerie”, it involves a scene where a couple dance and in the process a glass unicorn is knocked over breaking off its horn. A kiss follows forgiveness which it seems originates from accepting the fact that a unicorn is in effect just an ordinary horse without the embellishment of the role defining horn. Pretty deep for some but to me it's obvious. Similar to this Journal being printed without words although I know some readers would prefer more photos. Not of me surely?
This issue has a distinct USA feeling to it in that my Corning visit for the Glass Art Society Conference is published. You will be pleased to know that it is the edited version as I didn't want to bore you with a series of self-indulgent ramblings. I am sure there are more effective ways to bore readers. In addition we have a review of a book by the American glass artist Paul Stankard and a profile of Pilchuck Glass School in Washington USA. Not forgetting a report from the ASGS Symposium by Lee Mulholland. Then there is a review of an exhibition by the Scottish Glass Society. Continuing the international flavour of the Journal It gives me great pleasure to announce the winner of this year's Literary Prize and thus receiving the Lucy Oldfield Trophy resides in Norway.
It is of course an old friend of the BSSG, Kon or to give him his “posh Sunday” name of Konstantin Kraft-Poggensee. In the glass world there are no boundaries or barriers and information flows across us all like glass sealing to glass without interruption or contamination thus securing our true destiny. Yet this in my experience is impossibility. Human nature dictates unrest must be endured during development. I hear of falling membership in many voluntary organisations both within the glass world and outside and also across the globe. So like it or not this is what we have and we will deal with it as we see fit. It is perhaps opportune now to welcome the new Chair of the BSSG.
B.S.S.G. JOURNAL - VOL 54/No. 4 107 Ed’s Crack
Travelling back from the Glass Art Society's conference in Corning I had to get to Elmira Airport which was about ten miles from the hotel where I was staying. The hotel had booked a taxi for me and I knew that sometimes taxis look like minibuses. So when a minibus turned up with the driver saying he was going to the airport I made myself known. I should have been more suspicious when he asked if I was “Poppy”. Well I thought “Pearson” starts with the same letter so I said “I could be, and anyway I am going to the airport”. He helped me with my luggage, my very heavy luggage and I sat in the minibus and waited while he spent time inside the hotel.
After a while a taxi pulled up behind the bus and waited. I wondered if that was the one booked for me so I got out of bus and asked the taxi driver. Sure enough that was the taxi I should have been in and not the minibus. I retrieved my luggage, seemingly getting heavier and heavier now and passed it to the taxi driver. I got in the taxi and we drove off. I wonder if the mini bus driver missed me. Funny as he was same driver that collected me a few days earlier from the airport. Perhaps he will recognise me next time I visit and if so feel I owe him a tip. This could be in 2018 as I heard a rumour that the ASGS is thinking of hosting a symposium then in Corning. Poppy could still be waiting!
I'm inclined to think that this Journal needs a wider circulation. It maybe that 50% of the World's population does read every issue from cover to cover but what about the rest? I share my copy with some members of my family and friends. Of course it has to compete with Cosmopolitan, Woman and Home, Prima, Radio Times, Country Life, Men's Health and Trucking, but I think the BSSG Journal can hold its own in a crowd. Of course the real challenge and competitor is not real at all. Yes, it's virtual, it's on-line and it's soooooo past its “use by date”. What I mean by saying that is the only true “virtual reality” is emotional communication and the day that's bottled you can call me Sir Ian!!
108 B.S.S.G. JOURNAL - VOL 54/No. 4 Company Profile Quartztec Europe
Since the acquisition of the East Kilbride site in October 2015, Quartztec Europe has undergone a restructuring programme and review. Ron Jackman is our major shareholder and MD for Quartztec Europe, bringing with him his 28 years' experience within the Quartz and Ceramic Industry.
Gordon Whyte remains our Operational Director, working alongside Ron Jackman in directing both Operational and Sales Departments, combining their many years' experience in the semiconductor, solar, defence, automotive & lighting industries.
Quartztec Europe is without doubt the largest fabricator of Quartz Glass in the UK, our facility is a modern, purpose built manufacturing site of 50,000 sq ft, with 5,000 sq ft of office space.
Previously being a flagship Heraeus facility we have maintained our experienced and knowledgeable workforce allowing us to continue to provide the high quality and great service which is known with the site. Whether this is OEM semiconductor parts or bespoke, individual items, we have the onsite capabilities and knowledge to discuss all technical aspects with you and supply to your expectations.
The new Quartztec team are planning a large expansion for the coming year with new state of the art equipment, apprenticeships and implementation of new working practices to enable the business to grow and develop further. We look forward to working with you!
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B.S.S.G. JOURNAL - VOL 54/No. 4 109 Company profile - Quartztec Europe
110 B.S.S.G. JOURNAL - VOL 54/No. 4 Pilchuck Glass School
James Baker - Executive Director, Pilchuck Glass School Pilchuck Glass School (www.pilchuck.com) was founded in 1971 by glass artist Dale Chihuly and patrons Anne Gould Hauberg and John H. Hauberg. Pilchuck has been a primary force in the evolution of glass as a means of artistic expression. By creating an environment with an emphasis on glass, access to resources, and an ever-expanding international community of artists, Pilchuck has become the largest, most comprehensive educational centre in the world for artists working with glass.
Pilchuck's artistic and educational programmes take place primarily on a serene sixty-acre wooded campus fifty miles north of Seattle. This setting in the foothills of the Cascade Mountains overlooks Puget Sound, provides isolation from the influence of commerce and urban centres, and allows artists to focus on creative expression.
The campus features extensive facilities that offer a comprehensive array of workspaces and equipment for glass art production. Other facilities include a lodge that houses a lecture area, library, kitchen, and dining room. Nestled into the meadows and wooded hillsides are numerous residential buildings for faculty, artists in residence, students, and staff. There are miles of trails through the surrounding forests that provide opportunities for exercise and contemplation.
B.S.S.G. JOURNAL - VOL 54/No. 4 111 Pilchuck Glass School
Over the past forty five years, thousands of artists from across the nation and around the world (forty nine states and seventy two countries) have come to Pilchuck to teach, to learn, to test new ideas and to expand their artistic and creative horizons in the company of others with diverse perspectives and artistic modes. Every year, from April to September, Pilchuck offers over thirty-five intensive residential sessions varying in length from five to seventeen days. Courses emphasize experimentation and teamwork while fostering individual initiative and expression. Artist presentations, discussions and demonstrations occur daily and are open to everyone on campus, providing stimulating opportunities for dialogue and exchange across disciplines and cultures.
In addition to the campus facilities, we have a 4000 square foot exhibition and administrative office space in Pioneer Square; the commercial and artistic core of downtown Seattle. This street-level facility located in a historic building offers excellent exhibition/retail space. We connect to our Seattle audiences through presentations, exhibits and sales of work by promising, emerging artists who have participated in our programmes. This space provides an inviting setting for welcoming new and long-time supporters and through wall displays and the exhibition of new and innovative work visually articulates our purpose, history and mission.
The School has an annual operating budget of $2.8 million (£2.05 million) which is funded through a mix of contributed income, events, and tuition and fees and a year-round staff of seventeen.
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B.S.S.G. JOURNAL - VOL 54/No. 4 113 ASGS Annual Symposium in Tucson Arizona May 17th - 20th 2016
By Lee Mulholland, Southampton University
So, for the first time on one of my American glassblowing adventures, I had a travel companion in the shape of a burly Polish glassblower named Pryzemyslaw Tryc, known to some of you as Shamack.
As we were going to take a few days R&R before the symposium we took a 10 hour flight to Phoenix, where we would stay for two nights. Having never experienced very high temperatures before it was quite a shock to walk out of the airport terminal into 40c heat! After an early night/morning/whatever, we spent our first day on a coach trip to the Grand Canyon. It was about a 3 hour drive to the canyon but our driver “big Mac” (I kid you not) made the time fly by with his entertaining & very informative patter. It's a fascinating and beautiful part of the country & one that I would love to go back to. We stopped on the way to see the town & the famous red rocks of Sedona. Thankfully the temperature fell as we climbed towards the canyon. We were given the option to take a helicopter ride over the canyon which we decided we had to do. I believe it was $250 each, but I have to tell you this was the best money I ever spent, what an experience!! If you're ever in the area & have the money you really must do this! What an amazing day & one I probably wouldn't have had if I was on my own.
The next day we checked out of our hotel & went to collect the hire car that we would drive down to Tucson. Of course, it seemed only appropriate to get a bright yellow convertible Mustang. Having never driven on the wrong side of the road before it was a bit tense getting out of the city but once we were on the open road, great fun! We managed about 30 mins with the roof down, then up it went & on went the AC! We checked into the hotel where the symposium would be, the Westward Look Resort & Spa. A beautiful location, the main building having been a residence in the 1920's the rest of the resort was a sprawling collection of blocks of 4 rooms spread over several acres. Next day was a trip to the historic town of Tombstone, location of the “gunfight at the OK corral”. Although very “touristy” it was great fun going into saloons & seeing a great recreation of the gunfight.
The following day we spent lounging around the hotel while the Board of Directors Meeting was going on (8am to 7pm & they didn't get out early!) We
114 B.S.S.G. JOURNAL - VOL 54/No. 4 ASGS Annual Symposium 2016 moved onto the “Welcome Reception” where we spent the evening meeting up with old, friends, making new ones & possibly indulging in a drink or two.
First day of symposium proper & I started it off with” Yoga Based Exercises for Flameworkers” taken by Sabrina Belanger, which was pitched well for a bunch of old glassblowers and has given me a few exercises that I will definitely help me be a little more comfortable as the years pass. Next was “Financial Strategies for Small Businesses” which we both went to. This was really useful to hear how others, both University based & small companies, approach pricing their work & keeping their shops “in the black”. That covered the morning, in the afternoon it was the “Great Torch Off” which was basically a large bench with several different torches available for people to try. I shipped over a Jencons Rotajet to go into the selection but it did not get a great deal of interest from the locals to be honest. The star was the new Bethlehem 3 stage “Grand” torch which was very popular & I can see why, these surface mix burners produce a lovely flame that has a very even heat distribution huge amounts of heat !! they are very different to the Rotajets, that's for sure!
The next morning found us in “Glass Colour Theory- Understanding The Variables” given by Michael Hengler. This was fascinating to me, as I have found that dealing with the myriad of available colours is far more difficult
Annual banquet
B.S.S.G. JOURNAL - VOL 54/No. 4 11511 ASGS Annual Symposium 2016
Auction items than you would imagine with each colour reacting differently to different “flame chemistry's”. It was great to finally find out where a “neutral flame” is on our old Rotajet, something I have been struggling with for some time. The afternoon saw me at “Articles Out of Thin Air” by Marylin Brown (don't tell Ian!!) & Shamack at “Lathe Tips & Tricks”
Day 3 was the day for “technical demonstrations” but I will confess that we spent the morning out in the desert shooting cans & bottles with an AR15 semi-automatic rifle, this was great fun & I think our Polish colleague may have enjoyed it a little too much! In the evening we had artistic demos & the charity auction. I put the Rotajet into the auction as I knew someone was interested in it. Luckily two people wanted it & it went for $350. Shamack & I were also happy to see a spider that we collaborated on go for $325. I believe around $6000 was raised for a local charity.
Day 4 was the Technical Papers day and there were some interesting presentations, but I had to wait until late in the day to give my presentation “Outline of the BSSG Exam Syllabus & Competitions”. There is great interest in our exam syllabus & I hope that we can work out a sustainable way for US glassblowers to take our exams in the future. That evening was the Annual Banquet which was followed by a stargazing session on the roof with the hotels impressive telescope. It was a fitting way to end a great trip that we will both remember for many years to come.
116 B.S.S.G. JOURNAL - VOL 54/No. 4 ASGS Annual Symposium 2016
Junior seminar
Torch off
B.S.S.G. JOURNAL - VOL 54/No. 4 117 New Zealand Opportunity Technical Glass Products Limited Long-established and successful New Zealand supplier of scientific and technical glassware, Technical Glass Products Limited, is being offered for sale.
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118 B.S.S.G. JOURNAL - VOL 54/No. 4 BOOK REVIEWs By Ian Pearson NO GREEN BERRIES OR LEAVES
(ISBN-13:978-0-939923-55-7)
Subtitled, “The Creative Journey of an Artists in Glass”, this book gives the reader an insight into the work and mind of Paul Stankard. I reviewed “Spark the Creative Flame” by Paul in the BSSG Journal issue dated January 2015. This title is an earlier book published in 2007 and for me is far more interesting than Paul's later work. For the scientific glassblowers amongst us and I hear that is quite a few then the chapters concerning Paul's beginnings in working as a scientific glassblower at Macalaster Scientific Inc. after learning the art at Salem College will be of most interest. However I was intrigued by the thinking process of Paul and how he applied himself to develop his love of working glass to make that transfer from being in a scientific environment to that of being a world renown and respected artist. For Paul is famous for his detailed paperweights which are exhibited in museums and galleries in numerous countries.
Paul overcame several challenges in his early life not least being diagnosed as dyslexic and later a series of anxiety issues presented its own problems. All the time to Paul's credit his approach to life being calm, reflective and spiritual gave him strength that purely technical proficiency would always fail to achieve.
I have had many conversations with scientific glassblowers who think that just because they can make glass animals then they must be treated as an artist. Nothing could be so wrong and if one cannot or will not think like an artist then an artist you will never be. For it is the thought process that's vital
B.S.S.G. JOURNAL - VOL 54/No. 4 119 Book Reviews and Paul in this book talks about his own experiences and how they have shaped his personality and his work. We all can join two tubes together, make a few internal seals and do a bend to make a splash head perhaps and it will work perfectly as approved by Mr Chemist our customer. We can also do the same techniques to create a sculpture communicating the suffering that a single mother experiences in a politically corrupt country. There is a vast difference in the approach to the “work” however and Paul in this book does open one's mind to an alternative process. This maybe alternative to some of us, for me it is so so very familiar.
Photographs of Paul's early work as a scientific glassblower in the 1960's are included at the end of the book. Alongside are photographs of his artistic work and some pictures of his studio. Just goes to show what can be done with the right frame of mind!
Deep in the text of the book lies a gem of an explanation of how the term “lampworking” became corrupted into the so called fashionable “flameworking”. Paul had a part to play in this but it seems it was the curator Susanne Frantz who started to first use the new term. Apparently the original tern was deemed unfashionable and Paul said he didn't want to be known as that so voted in favour of “flameworking”. Hmmm not sure about that myself. I mean lampworkers have been around for centuries so why the need to change?
One chapter focuses on Paul as a poet and it was intriguing to read of Paul’s need to write poetry rather than just a phase or hobby that he spent time on. Time away from the flame but time it seems well spent. There is a poem with the same title as this book which refers to Paul’s early memories of picking blueberries. He apparently was a good picker in that there were no green berries or leaves in his bucket. Maybe this purity of material and concentration of substance has stood Paul well in the life of glass and art. I think so and having met Paul twice now feel his best advert is himself.
120 B.S.S.G. JOURNAL - VOL 54/No. 4 Book Reviews
PIRELLI GLASS (ISBN1484086309)
In the issue of the BSSG Journal dated October 2013 I reviewed a small book entitled “London Lampworkers” about Pirelli, Bimini and Komaromy glass business. This follow up volume is as its title indicates all about the Pirelli glass products which appear to be mostly glass animals. The book contains many illustrations mostly in colour of glass animals which are now collectors' items. In my view they appear quite simplistic and perhaps I can see how the company failed with the competition of cheaper imports.
It's surprising that the name of this glass company has absolutely nothing to do with tyres or calendars. Even more surprising is that the person who founded the company was called Robert George Dunlop and again no connections at all with tyres. More surprises follow as the book explains the connections and working relationship between Pirelli and Vasart, the Scottish paperweight and art glass makers.
The book is well researched with input from several past employees of Pirelli including Bob Martin who has been known to grace many symposiums with his glass animal making skills. Many names are offered and acknowledgement to scientific glassblowing quoted. Some of the names I do recognise but most remain as if fictional.
Annoyingly there are no pictures of glass tigers. That may be remedied in the following two volumes of the trilogy, planned for 2017. These will provide a comprehensive record of Komaromy Glass and Bimini and Orplid Glass. The author of all the books, Angela Bowey obviously loves her subject and I was left wondering after reading whether she has a large collection herself. It appears some of the animals have proved to be a good investment and some current values are given alongside original prices. I was surprised at some of the animals chosen to be made from glass. For instance I would never have thought there was a market for glass Brontosaurus's but apparently there must have been as Pirelli made various sizes of them.
B.S.S.G. JOURNAL - VOL 54/No. 4 12117 Book Reviews
There are extracts from the Company's catalogues which give an accurate historic perspective.
The chapter on promotional glassware Pirelli made under licence various characters of Disney cartoons was fun and this is really the essence of the book. It's fun to look at all the photographs and smile at the animals expressions. The text of the book where stories are remembered by ex- employees of the business are enlightening, it is the photographs that really do illustrate a good story. Other glass animals that were made under licence was for Guinness and seeing these photographs brought back pleasant memories of their advertising campaign where toucans were so prominent. The Bambis for Babycham are pictured as I remembered, delightful but I had no idea about the Ferguson Bambis. Contrary to be initial thoughts they were not connected to Manchester United or tractors but linked to domestic electrical items.
Pirelli were very busy in producing decorated glassware using transfers to brighten drink glasses, jugs, plates and other similar items. Of course this was using other companies glassware bought in for Pirelli to decorate. I noted the comment that Pirelli had at one time twenty women decorating whilst the lampworkers were exclusively male. My how times have changed.
PICHUCK; A GLASS SCHOOL (ISBN0-295-97559-8)
How appropriate that this review be included in the same issue of the Journal as the one which features a profile of Pilchuck by the current Chief Executive James Baer. Clever eh and total accidentally planned. Read the book, then read the profile and then visit the place.
The book was written by Tina Oldknow who seems to have written every book I love about glass. This volume celebrates 25 years of Pilchuck and it's a great in depth study of an environment with plenty of social interaction between hippies in the 1970's. This developed into one of the World's most famous glass centres for teaching. It should be comprehensive as Tina has relied on interviews with 126 participants associated with Pilchuck. There are some great photographs of both key players and glass sculptures. Being written about a time of social change and youth based then I suppose one could say if you can remember the early days then you weren't there!
122 B.S.S.G. JOURNAL - VOL 54/No. 4 Book Reviews
For me the stories of fall outs and disagreements between various worlds established glass artists were the most intriguing. The egos rose and fell, some faster than others. The stories of building furnaces in the middle of nowhere and dealing with the weather in extreme conditions of cold and wet are truly inspirational. I listened to James give a presentation at the GAS Conference on this subject and I still ask the question could it all be done again or have we all been programmed out of such daring creativity and artistic courage?
The book is well illustrated with drawings, sketches and photographs of the tents and buildings form the early days. This demonstrates the value of documenting all aspects life and living and I suppose regrettably this does prove the value of “selfies”. Just make sure the editing button is used which thankfully this book has experienced as all chapters form a perfectly straight chronological time line where the only deviations are in the readers dreams. I read the book with the knowledge and experience of working at Northlands Creative Glass in Lybster, Caithness and noted similarities with the aspirations of both communities. Fewer hippies in Caithness? No, I don't think so. Once a hippy always a hippy and please please always a free spirit.
NOT REALLY A BOOK REVIEW Ian Pearson
I was privileged to recently have met up with World renowned glass artist Colin Reed. I have long admired Colin's kiln formed sculptures and cherished his book, “Glass Sculpture”. I knew that for a number of years Colin had worked in South London as a scientific glassblower but did not appreciate that he was once a BSSG Member. Just goes to show how greatness comes from belonging to a great Society! Oh and of course I wholeheartedly recommend the book. (ISBN 978-1848221376)
B.S.S.G. JOURNAL - VOL 54/No. 4 123 1743 441 955
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B.S.S.G. JOURNAL - VOL 54/No. 4 125 A SCOTSMAN IN NEW YORK Review of the Glass Art Society Conference 2016
Ian Pearson Introduction
Of course I am not a true Scotsman nor was this conference in the actual city of New York. It was held in Corning which is in New York State. The Glass Art Society (GAS) had held several conferences here before and I too had visited Corning for the American Scientific Glassblowers symposium in 2012 as reported in the BSSG Journal, (October 2012 issue). Then I had Willie McCormack by my side, this time I was Willie less! Being solo had its advantages and allowed me to be strict and stay to my plan. Plan being the key word here as I had booked nearly a year in advance and catered for all situations or so I thought. My pretend spreadsheet kept me sane. For over twenty years I had read about GAS conferences and it was on my “bucket list”. The day of reckoning had arrived!
The Vision
Since my last visit to the Corning Museum of Glass the building had been extended to incorporate galleries for contemporary glass art and design so I was really keen to see this. I was familiar with locations of hotels, shops and museums, all within easy walking distance but not how the various demonstrations would interact with each other. The programme available to view on the Internet was most helpful and guided me to select my three choices for every time slot. A brief profile of each demonstration was given but still left just enough scope for me to misinterpret. I thought I had planned to see the best on offer but in this case second best is OK. Just OK?
The Experience
The first day I knew I had to be wide awake early to have breakfast at 6.30am then register at 7am. Similarities between this event and BSSG Symposiums for registering were bound to register in my mind and they did. One welcome pack is basically the same as any other. A container full of goodies with a focus on free publicity for various sponsors. However the programme
126 B.S.S.G. JOURNAL - VOL 54/No. 4 Glass Society Art Conference 2016 booklet was definitely more book then “let” and resembled a reference volume which I found one of the most useful aspects of the whole conference. In fact I read it once home and realised what I had missed!
I took the opportunity to buy a GAS T-shirt as I think another thousand delegates did. Luckily a lot were XL so left a few the right size for me. Interesting the choice of T-shirt wear as it seemed to define a person. I wore my “Stourbridge” shirt and at least one person recognised the area for being a venue for the International Glass Festival in 2006. My Northlands T-shirt drew admiration and recognition as the place to be. Why even my ASGS attracted compliments but then I was told they don't make them like that now. I will now wear my GAS shirt in the UK with anticipation.
Tickets for demonstrations were available between 7.30am and 8.30am for the first one of the day and delegates were asked to have their second and third choices available in case their first was fully booked. One ticket per person and non-transferable. Lining up in the sunshine listening to Dylan and Jefferson Airship, it all seemed very trippy and in my mind I drifted back forty odd years or more.
The ticket issue station seemed very strict but perfectly controlled and with 1700 attendees at the conference the only real practical way to manage the crowds. So well done all involved.
I thought flame working demonstration's would not be as popular as glassblowing from the furnace by world famous artists such as Lino Tagliapietra and my assumptions proved correct as I obtained access to my first selection easy.
The Details: Demonstrations
My pleasure of watching the demonstrations was governed by the design of the venue where such work was being shown. Hence the best experiences for me were in the Innovation Hot Shop which can be used for both flame working and furnace work. This was in the main building of the Museum and made excellent use of modern technology. Presenters wore microphones which gave clear sound through speakers strategically placed throughout the room. There were large screens which showed visual images of the work being carried out, both close, from a distance and from serval different
B.S.S.G. JOURNAL - VOL 54/No. 4 127 Glass Society Art Conference 2016
The beginning
The delegate
The queue
The technical display tent
128 B.S.S.G. JOURNAL - VOL 54/No. 4 Glass Society Art Conference 2016 angles. I saw two flame-working demonstrations in this area as well as a goblet being produced from the furnace and all three demonstrations were enhanced by the local environment. There was the added bonus of a video camera actually situated in the glory hole.
By far the best area to watch glassblowing was the new Amphitheatre Hot Shop which has stepped seating and a gallery. Enough space for an audience of five hundred and many screen relaying images of what was happening on the stage. A rock concert for glassblowers it appeared. For me though I was personally attracted to the Courtyard Hot Shop as this was more open and had a more relaxed feel. On a sunny morning sitting back soaking up the sun whilst watched a couple of glass artists battle the heat from the furnace and balance great weights of glass on their irons. Ahhh bliss. What could be better?
The Details: Museums
Tempting as one is to focus on the Corning Museum of Glass there is another museum in Corning worthy to note. It's the Rockwell Museum of Western Art, (Native American Art). and was the venue for the opening reception. Food was free but alas no corned beef! I got the chance to sample raw broccoli and cauliflower. Drinks were obtained by buying a token for $5 and exchanging it for a plastic cup of wine. Rather ironic that, being at a glass conference and all that. I wasn't clear why the back of my hand was stamped with a red ink symbol before I handed over my dollars.
The Rockwell Museum is an excellent tribute to Native American artists and felt more like an art gallery. Even better was that all received a free book detailing the museums artefacts when leaving. I was pleasantly surprised to see an exhibition of glass by Richard Parrish. He used kiln forming techniques to express his view of “mapping” the American landscapes.
Over at the Corning Museum of Glass I visited “Fragile Legacy”, an exhibition highlighting the skill of the Blaschka's in making hundreds of very accurate marine invertebrate glass models. I found it fascinating to learn of their working techniques and procedures. On show was their workbench and tools which compared to the present seem all so primitive. A reinactment of their working methods was presented on video screens and I noted with a certain glee that the term “lampworking” was used. It seems
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And performances were Ian Pearson
Salt
Roger Parramore
Tim Drier
Mike Souza
130 B.S.S.G. JOURNAL - VOL 54/No. 4 Glass Society Art Conference 2016 almost compulsory nowadays to refer to working glass in the flame as flame working and not lampworking. I have since read in Paul Stankard's book, “No Green Berries or Leaves” the origins of the name change which I feel a little bit sad about. What's wrong with “lampwork” as a term?
It was absolutely a privilege to wander around the galleries at the Corning Museum at 8am well before the coach loads of tourists invaded the space. So peaceful and quiet and so encouraging for mediation and contemplation as stroking such wondrous glass objects. Ooopps I was then told not to touch!
Over in the Carder Gallery of the Corning Museum lies some fascinating example of lampwork originating from artists in residence who have taught at various times over the last twenty years. Throughout the Museum there were examples of work by these “Masters” and even badges were given away to visitors. Naturally I “bagged” a few for my beaver Scouts. I also took the opportunity to borrow, (long term) some short stubby pencils with “Corning Museum of Glass” printed along the side of each pencil. These too were for my Beavers as a souvenir of my visit. Maybe one day they too will visit Corning?
The Rakow Library was the venue of another exhibition detailing the history of the microscope and while fascinating it did not hold my attention as I felt it should. The attendant was extremely helpful in showing the fascinating world of micro this and that but “Revealing the Invisible” as the exhibition was titled did not have enough glass in it for me. So I left a little blank faced. However upstairs in the actual library was a host of information and more freebies by way of pens! Called the Education and Resource Centre, there were tables full of valuable publicity brochures about various glass working schools. Here one could sift through many options to identify the ideal course. Naturally the majority being USA based.
The Details: Films
Across the road from the Rockwell Museum is the Palace Theatre where several glass related films were shown. I was disappointed seeing the small audiences and during some showings the bags of popcorn outnumbered the viewers! “Pilchuck, A Dance with Fire” was shown in Theatre 1 with other films shown in Theatre 2. I was glad to be mesmerised in the first Theatre as
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Encore
Mike Souza (Note chuck guards)
Sally Prasch
Corning Museum of glass innovation hot shop
132 B.S.S.G. JOURNAL - VOL 54/No. 4 Glass Society Art Conference 2016 my knowledge of Pilchuck is very limited. I had no idea of the school’s early days as it seemed was like a hippy commune in the early 1970's. To think now that this is an internationally recognised school that offers an in-depth education in glass and attracts artists from all over the World. A bit like “Northlands” but with more trees.
At the end of the film there was a question and answer session with James Baker who is the current Executive Director of the School. He answered my question slightly open ended and thus I was lucky to bump into him later during the Conference and continue the debate. Actually he was sitting at a bar having a drink whilst waiting for a meal and I plonked myself down on a seat next to him. He has provided more details of Pilchuck for the BSSG Journal.
I also watched a film profile the artists Lino Tagliapietra who is recognised the world over as a master of traditional techniques, a teacher who has shaped the world of contemporary glass. He is an artist who creates sculptures renowned for their complexity, elegance and visual poetry. These words have been extracted from the Conferences programme so they must be accurate and indeed the film I saw conveyed this and more. He's a blooming fabulous magician of glass and very fit for being older than me. If only I could master pronouncing his surname as well as he can twirl glass then I'd be happy.
My final celluloid experience was of course nothing of the sort as these films are all digital which reminded me that I live in a modern world. No one was laughing at my ancient mobile phone since it didn't work in the USA so I left it sunbathing back at the hotel. “The Flame-ation Project” gave a fascinating insight into how a film involving glass objects and figures was created. Seemingly a laborious affair of filming glass items and then altering very slightly their appearance using flame work before re filming developed into a very pleasant view. The result, which is work in progress, is called “Dr Mermaid and the Abovemarine. Again a very small audience heard one of the collaborators Mark Elliot explain the idea behind the work. Mark had brought with him some of the actual glass items made for the film.
The People
The organisers of the Conference deserve much praise for managing herds of people heading in all directions at all times, most not clear as to where
B.S.S.G. JOURNAL - VOL 54/No. 4 133 Glass Society Art Conference 2016 they were heading. The staff and volunteers from the Corning Museum could not have been more helpful and if I stopped for a few seconds scratching my head as I tried to workout North and South then someone would pop along to offer me help.
It was a privilege for me to meet many of artists that I respect and whose work I admire. Those that know me will appreciate my fondness for using my camera to capture images of people usually standing next to me. Some might think I spend all my time handing my camera to those passing by to capture that special moment. These are not selfies but I have defined this technique as “thirdies” since they involve a third party. Sometimes the third party is just as important as the people in the spot light. For example in the technical exhibition area I bumped into Mike Souza from the ASGS and another ASGS member Barry Lafler took the photograph but I wanted Barry in the photo. Unfortunately excitement overtook rational thought and before my camera had regained consciousness Barry had gone. Other ASGS members weren't as quick and I enjoyed a nice group hug with Sally Prasch and Doni Hatz.
One person I must single out is Paul Stankard who started his career as a scientific glassblower and now is a well-known artist creating very detailed and complex paperweights. Paul signed a copy of his book for me and I will be reviewing this later in the Journal.
Another author and artist is Bandhu Dunham, lovely name and he makes lovely kinetic glass sculptures. He is the author of “Contemporary Lamp Working” Volumes 1, 2 and 3 and of course I have all three. In fact Volume 3 was reviewed in the BSSG Journal, issue January 2015.
Two artists whose work I have followed with admiration overs the years are Robert Mickelson and Shane Fero. Shane is a past president of the Glass Art Society and seemed keen to be involved in my “thirdie”. He is well known for his bird sculptures but for me Shane created on of my favourite sculptures. Titled “Madame Magritte” it provides a healthy link between glass, surrealism and that great Belgian artist. It is pictured in “Formed of Fire” by Bandhu whom I previously mentioned, (page 18). Robert sort of volunteered for my “thirdie” although it took two attempts before we captured the moment. Robert's article in the Fall issue of “The Flow” in 2011 about his development to the “dark side” of pipe making always fascinated
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Caitlin Hyde Beth Lipman’s assistant
Auction & Goblet Grab
Javier Perez’s “Carrona”
Floating boats by Lino Tagliapietra
B.S.S.G. JOURNAL - VOL 54/No. 4 135 Glass Society Art Conference 2016 me so great to get a chance for a chat with the author.
Another Edinburgh lass who I met appeared as if by magic next to me as I sat down in the Museum's grand Auditorium in readiness for the opening ceremony. I had only glanced at the back view of my "neighbour” but of course recognised her instantly as she turned. It was Alison Kinaird MBE and delegates at the 2014 BSSG Symposium will remember Alison for giving the final lecture on the Saturday morning.
The Prizes
Best demonstration was by Salt for his functional art show piece which lasted two and a half hours and almost nonstop working on the flame. That's my type of demo! His reasoning of colour use was interesting in that it gives him a memory sign post if he ever revisits a glass item that he has made. Salt incorporated a slide show and this referenced his early days of having an awareness of scientific glassblowing. For sure he shares similar techniques, in particular internal seals with that practised by scientific glassblowers. Salt is attributed as the author of “Pipe Classic 7” a book devoted to the activities of pipe makers and was reviewed in the BSSG Journal, issue January 2015. Most relaxed demonstration seemed to be by Tim Drier who did not light is burner until one minute before the scheduled time of his part in the conference. Tim showed how he used his hip to move the bench burner on a slide so that the flame moved around the glass as opposed to the glass moving around the flame. Very clever tool and I haven't seen anything like that before. The item that Tim was showing involved winding coils with the end result being a high efficency coil condenser. I introduced myself to Tim by virtue of knowing his brother Tracy. Tracy's article on sinters was published in the last issue of the Journal.
Most enjoyable show was an accident in that I had no ticket and my attendance was only by virtue that I left and earlier demonstration before the conclusion. I sat in the Courtyard Hot shop watching Hilton and Kennard entertain the audience with a very proficient exposure of skills blowing two vessels before joining the two together. It was the easy paced and clear commentary that added sparkle though proving one does not have to stop work to talk. Both actions can be done silmoutaneosly.
The demonstration that slightly annoyed me was by Roger Paramore who
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Finale Glass is always in fashion
Clean sweep
Mike souza
Axeman
B.S.S.G. JOURNAL - VOL 54/No. 4 137 Glass Society Art Conference 2016 did not light his burner until he had lectured to the audience for over 30 minutes. Roger is not a great lover of pulling points which did not find 100% favour with all the audience. I played the mind game of trying to guess when he would put light to gas but for me he did not light up GAS.
Most boring demonstration was by far the non-event of the conference for me and this was publicised as a very special event involved the glass artist Beth Lipman. I like Beth's sculptures but really her performance at Corning left me screaming for action. The venue was fabulous, it being the Amphitheatre Hot Shop and the stage was set for something special as I am sure the crowd anticipated a really memorable event ready to take place. It turned out to be a hugging convention where Beth sought out worshipers of hers and proceed to encourage adulation as her team worked on glass items from the furnace and then “dunk” them in a tank of water whereby the glass shattered. For anyone aware of Prince Rupert's Drops this is nothing new and yes for sure its art but so self-indulgent. Especially as there was no commentary. Beth did not explain what was happening. I left several times during the ninety minute show and on my return felt I had not missed anything.
The best warm act must surely go to Sally Prasch who was helping Mike Souza and she lit his bench burner and proceeded to prepare parts for him. Some, including me starting to photograph this and Sally's response was that Mike was the star. Of course we knew that and Mike proved it with his very technically sound presentation through a series of pictures illustrating his work at Princeton University. He showed how to make a “no blow” seal and also “suck seals”. Mike should really be a professor. Perhaps he is and no one knows? I had breakfast with Mike and true to form he came out with one of his famous sayings. Talking about the current generations seemingly dependence on systematic thinking, he exclaimed, “kids these days needs scissors to cut toilet paper”.
Most entertain demonstration by a mile and an inch was by Caitlin Hyde who works at the Corning Museum showing off her flame working skills. Naturally she knows how to deliver a message and I thought her appearance of wearing a white lab coat very professional. Image the surprise of the audience when she took off her coat to reveal a glittering waistcoat and commenced to juggle three soft balls. All this was a prelude to the fact that she knew her “stuff” and probably more important knew how to work an audience.
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Caitlin's subject was a Tardigrade which is a water-dwelling, eight-legged, segmented micro-animal. Fascinating “beastie” and pictures of the real creature was displayed as Catlin worked through a glass model. Amazingly this creature survives in space and was featured in the Sunday Times about Tim Peake's return to Earth! Using white borosilicate the demo, one of the quickest I saw during the Conference was all over in forty five minutes. This in my view is exactly the optimum time for a demo
The Shout Out
As glass auctions go then the live GAS auction was slow paced when compared to a BSSG event. There were twenty five entries ranging from estimates of $535 to $22,000. I wasn't surprised to see that many did not achieve their reserve price but then I did leave half way through. This was for two reasons, one was that my stomach told me that there was a steak waiting for me at the bar and the other was that the person sitting next to me had terrible BO! Sure I could have moved seats but there were none spare, such was the popularity of this auction. My reward for a premature exit was a perfect steak and an interesting conversation with a lady about fused glass. Imagine the scene with her and I perched at the bar and me treating her to a glass of wine. I feel I should point that she was over seventy years young (she told me) and is recovering from two knee operations!
The silent auction or table top auction was a complete joy and wondrous to see so many fine works of art showing a host of different glass working techniques. I spent many an hour just gazing at the entries. Why even my entry of a glass hollow figure had attracted a bid. I priced it at $400, actually deliberately overpriced so was pleased that someone was willing to pay $140 to own it. I was attracted to a wine glass which had as its stem a coil condenser. This was made by Mike Gnann who had demonstrated various scientific glassblowing skills earlier at the Conference.
Non glass items such as tools and books were on offer and I was happy to successfully bid for a glossy glass art book at of course a bargain price. “Color Ignited”, the spelling in the title gave away it's geographically origin. Subtitled “Glass 1962-2012 it is a catalogue of an exhibition with the same name held at the Toledo Museum in 2012. It was surprising to see a new copy of “Wheeler” included in a package of books with an estimate of $600! A bargain?
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Shane Ferro
Sally Prasch, Mike Souza & Doni Hatz
Robert Mickelson Tim Drier
Laura Donefer
Paul Stankard
With whom?
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The Stake Out
Advertised as the Goblet grab” I had no idea what this involved. A line of goblets on a table made by famous artists and many lesser well known and then what? All became clear at noon one on the second day of the Conference as delegates who had previously eyed up what they judged to be best waited behind a ribbon. At a certain moment the ribbon was cut and a deluge of hands reached out to grab the goblets of their choice. Clever, exciting and fun. I heard no smashing of glass but a little hissing when someone beat another to snatch a glass from literally under their nose. I was standing so close that I was fearful someone would grab me!
The Best Tribute to Bowie and Prince
“There's a brand new dance” as we know Bowie sung but did he take part in a fashion show? Of course he did, it was his life and even if it didn't include glass his music was a fantastic starter for the entrance of a tidal wave of models in various stages of undress and overdress, each one showing off glass adornments. It was sexy, it was loud, and it was fast, superfast and was brilliant, oh so so brilliant. I was positioned right alongside the cat walk and could smell and taste the adrenalin. It could have been dangerous with fragments of glass falling from costumes onto the floor but that is such an unfashionable opinion. There were at least five helpers with dustpan and brushes ready to step in and make a clean sweep of things. Such a very well organised event.
The queue to secure tickets for the fashion show exceeded my expectations and the security as tight as some of the models outfits. First I was asked for photo identification which I gave by flashing my Scottish bus pass. Incidentally I used this technique to gain a 15% discount on entry to the Corning Museum during the extra day I stayed in the area. I was asked for military I.D. but hey who needs that when a plastic Saltire does nicely? Back to entry requirements for the fashion show this included getting a wrist band of a certain colour and my conference badge hole bunched. This is a popular event me thinks.
I was keen to see if I could spot Mike Souza and Sally Prasch modelling large diameter glass cylinders with attachments. Must have weighed a fortune! (Lbs to £ – get it? This is the USA). Amongst the haze I saw both Sally and
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Mike taking rather a sedately stroll along the walk way. Maybe they were weighed down and perhaps next time use thin wall tubing. The previous night I had joined others to be in Sally's hotel room to participate in the serious work of tweaking Mike's costume and attempt to enhance the effect that Sally had desired.
The finale saw all models that could fit on the cat walk return and celebrate the input that the designer Laura Donefer had in arranging such a dynamic show. I was lucky to get Laura to sign a copy of her book illustrating previous shows, which at $20 instead of $98 was a bargain of all bargains. The value increased as I persuaded her to take part in one of my “thirdies”!
The Agony and Ecstasy
Chicken speedos sounds like fowl swim wear but they were tasty and the only think I deemed edible from a long line of take-a-way vans situation near the technical display area. I was disappointed with the products on display as a lot were aimed at the furnace market but then I am only a poor lampworker. The difference between the two hot styles of working glass at the Conference seemed to me to provide a creative tension which I feel is healthy. Difference existed also in the actual Museum where at times one felt the environment was that of an art gallery whilst on other occasion there was no doubt this is a museum. The mixture of art and technology was clearly identified with the technical displays. Good to see the two ladies on the Carlisle stand and it was they who recognised me first from my last ASGS Symposium. I was disappointed that there were no books on offer. Actually that is a lie as Wale Apparatus did have one book for sale. All about Antonio Neri. Far too heavy for my baggage allowance I thought although little did I know when flying out I had 10lbs spare.
The main street in Corning, known as the gaffer area hosted a glass crawl during the Conference and this seemed rather like a pub crawl but with more glass. A number of galleries were open late in the evening offering complimentary food and drink. I saw holograms, hollow guitar playing and holy religious art. There was live music by a band and a small orchestra. During one visit I discovered the work of Michael Rogers who told me he is soon to visit Northlands Creative Glass in Lybster, Caithness which is only twenty five miles away from my home! I was surprised how well known this location is to glass artists in the USA. Michael's work involved hanging glass
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With whom?
Scott Dunham
Alison Kinnaird MBE Spot the difference? About 20 degrees centigrade, six weeks and over 3500 miles to be imprecise.
First photograph shows Michael Rogers at Corning and a few weeks later same artist at Northlands Creative Glass, Lybster, Scotland. Small world eh?
B.S.S.G. JOURNAL - VOL 54/No. 4 143 Glass Society Art Conference 2016 barometers with poetry etched on the glass and this intrigued me. The pressure in each barometer is converted into data which is translated into sound. Neat idea! True to his promise, I met up with Michael in Lybster at Northlands for the preview of the “Elements” exhibition which was organised by the Scottish Glass Society. This event is reviewed later in this issue of the Journal.
A big feature in Corning is the tower which was originally the tube draw tower. Erected in 1912, it was used to draw glass tube for making thermometers. It was restored in 2000, and today it is a local landmark known regionally as "Little Joe" for the iconic glassblower painted on its side. It was this image that was drawn on the side of Mike and Sally's glass costume cylinder. There was an opportunity to view and exhibition of how thermometers were created which was interesting.
There are not many shops that have a fully equipped glassblowing studio in them but Vitrix Hot Glass Studio is no ordinary shop. Owned by Thomas Kelly the shop really is more gallery than supermarket. Loved the swirls and good to see how ideas have developed since my last visit four years ago. Following my stroll along the streets paved with glass I planned to return to my hotel but not before I was asked to put my hand in a bucket of water. There were three buckets of water all connected with electric wires, batteries and lights. A little shocking experience perhaps but all in the name of art. It was cool man!
The Glory, Reflected and Refracted
So suddenly it was Sunday and the Conference over but not my fun. I still had to check out and get flying. Before that however I was off for one last chance to see the Corning Museum. Asked if I had any military ID on arriving at the entrance I explained that no but I do have my Scottish bus pass. That will do nicely said the ticket clerk and off I bounced in with a 15% discount.
One of my favourite installations is by Javier Perez entitled “Carrona”. This sculpture consists of an elaborate chandelier whose many parts were blown and tooled of transparent blood-red glass, assembled and hung, then intentionally dropped. A flock of taxidermied crows perches on the fallen carcass, and shards dangle from their mouths. The installation is meant to evoke opportunistic birds gobbling carrion by the side of the road, a
144 B.S.S.G. JOURNAL - VOL 54/No. 4 Glass Society Art Conference 2016 metaphor for the gradual disappearance of Murano's traditional glass industry.
I saw a great demonstration about fibre optics which explained how light travels in a straight line and used the flow of water through and out of a pipe to drive the message home. It is a somewhat dry subject but well done to the presenter for adding some liquid to make it not too wet.
The Every Living Memory
I may or may not have left my mark on Corning but once again Corning left its mark on me.
LET THERE BE LIGHT Ian Pearson It was a privilege for me to win a competition that I was completely unaware of and ignorant about the sponsor. My sculpture pictured, titled, “Leaning Lighthouse of Caithness”, was judged by Carol Sinclair from Applied Arts, Scotland to be the best in the exhibition at the Coburg House Gallery in Edinburgh organised by the Scottish Glass Society. The prize was supported by the Incorporation of Wrights of Glasgow whose history can be traced back to 1057 when King Malcolm III of Scotland wished to recognise the craftsmen who were building Glasgow Cathedral.
My sculpture was created in response to a theme built around “shipping forecast”. Hence the lighthouse which is bent due to strong winds. Yet lighthouses are constructed to resist such weaknesses! The light emitting from the lighthouse is also bent but light doesn't just bend like that. A yacht has been washed up against the lighthouse and a paper boat inserted inside. Carol told me afterwards that she liked my work as there is a lot going on.
The photograph was taken at Thurso harbour with Scrabster lighthouse in the distance.
B.S.S.G. JOURNAL - VOL 54/No. 4 145 The Origins of Fibre Optics
By Alan E Comyns, formerly Assistant Development Manager, British Titan Products
Fibre optic communication was a British invention. Although fibre optics had been used for many years for transmitting light and images for various applications, mostly medical, it was the research lab of Standard Telephones and Cables in Harlow, Essex, which first suggested using glass optical fibres for communication. Kao and Hockham of STC published their paper in Proc. Inst. Elec. Eng. in 1966. Forty three years later, Kao was to receive half a Nobel Prize for this work. Kao and Hockham collaborated with the Post Office Research Station in Dollis Hill, North London. It was always realised that in order to be sufficiently transparent, the glass would have to be exceptionally free from transition metal impurities, so the glass would have to be made from very pure ingredients. One of the chemists (possibly the only chemist) at Dollis Hill was Dr Mark Faktor, a former student of Don Bradley at Birkbeck College, London. Both Mark and Don were old friends of mine and they knew that my research department at British Titan Products in Stockton-on-Tees was skilled in making super-pure titanium dioxide for research. We were able to do so because we had a solid-source mass-spectrometer which could measure the concentrations of transition metals in titania at less than 1 ppm. So Mark asked me if BTP would make samples of very pure oxides for their use in glass making. We signed a contract with the Post Office to provide kilogram quantities of certain pure oxides. The actual contractor was Titanium Intermediates Ltd (TIL), a subsidiary of BTP, which made and sold metal alkoxides. I do not know which oxides were chosen in addition to silica, because I left BTP in 1968 before the laboratory work was started. The first deliveries of kilogram quantities of pure oxides were made to the new Martlesham Heath laboratories of BT, probably in 1969.
A consortium for developing low-loss optical fibres was formed in 1969; its members were the British Post Office, STC, the Scottish company Barr and Stroud (which made optical equipment), and British Titan Products (which made titanium dioxide pigments). It is unclear how often the consortium met or when it was disbanded.
Then, in 1970, Corning announced their “soot” process for making silica fibre preforms (US patents 3,711,262; 3,737,292), and the rest is history. The history is recounted in Chapter 11 of Jeff Hecht's excellent book City of Light (OUP, 1999); but he was mistaken in assuming that British Titan Products used neutron activation for analysing a piece of Corning fibre, they were not equipped for this.
Based on an article in Glass News, Number 40, dated July 2016, page 14-15, published by The Association for the History of Glass Ltd and reprinted by permission.
146 B.S.S.G. JOURNAL - VOL 54/No. 4 Elemental A Review of the Scottish Glass Society's Exhibition at Northlands Creative Glass, Lybster, Caithness
By Ian Pearson
In theory this should be the best review of an exhibition that I have “written”. Reason being that I helped set up and display some of the exhibits. Normal practice is for exhibition visitors not to touch any of the work displayed but in my case not only was I handling the glass but viewing it from all angles. In particular I was given the responsibility to hang Alec Galloway's “Rain Harp”. This work consists of stained glass in a wooden frame with various mixed media. I thought it a great work but became nervous when given a battery operated screwdriver, some cord and screws. The cord had a weight limit of 12 Kgs and although no one had weighed Alec's glass the estimate was about 15 Kgs maybe! In addition I had never used a battery operated screwdriver before. I was so pleased to see the piece still attached to the wooden beams that I had so furiously drilled into a few days earlier.
Hanging glass surprised me as I thought all glasswork would be simply placed on plinths as my two sculptures were. A surprising number were destined for the walls and I accept this being normal for flat glass but did not appreciate the artist's specific requirements for three dimensional work. Luckily one I was given to display involved no screwdrivers but a hammer. Terri Grant had made many glass googles which were each fixed to the wall by two nails. I worked to a clever template and hammered away. Of course every so often my positioning was a couple of millimetres adrift and so a “tap tap” ensured. This took place as half the amount of goggles were “in-situ” and it was not surprising that the whole hanging team rushed to my rescue and the goggles started to vibrate away from the wall!
The work by Cheryl Wilson-Smith consisted of six items with two different titles so in theory two different exhibits but which were linked in such a way that they had to be viewed without separation. They appeared both strong and fragile at same time. The glass did flake a little in my hand as I worked out which way up they should be hung but guessed the nail positioned through them gave the work strength although this was more symbolic than practical. Another exhibit, again consisting of several items contributing to one image was by Karen Akestar and she used glass which did not have the clear appearance of glass to represent unoccupied houses.
B.S.S.G. JOURNAL - VOL 54/No. 4 147 Elemental - A review at Northlands
Of the thirty artists represented several had two exhibits displayed although a couple of artists work was not to be seen other than in the catalogue due to space restrictions. The exhibition moved to Edinburgh after its Lybster residency where everything was seen. The catalogue gave a very comprehensive appraisal of the selection process and I did not fully understand how jurors judge the entries until I read this. Whether it will help me in the future to submit more relevant work I am unclear about. The title of the exhibition, “Elemental” obviously was interpreted vastly different by all the artists. It was intriguing to see how images of painted glass in a clock body, glass bowls and coin drawers were representative of the term “Elemental”. Lesson here is to never underestimate the imagination of an artist!
My sculptures were the only ones without colour although Siobhan Healy's apple and twig in a box made from cast crystal came close but involved silver. I thought this a fine piece and continued Siobhan's work and ideas where her use of botanical images relays the message of emotions.
One of the largest and for me the cleverest work was by Susan Kinley and involved glass panels with various scenes of Orkney archaeological sites. Definitely a piece that demanded closer inspection.
There were many artists that acknowledged the influence of Northlands Creative Glass had given them. This was mostly by the artist in question having either taught or been a student at Northlands. Notably the work of Julie Johnson where her series of sculptures “all about birds” started during an artist's residency. Loved her dark coloured bird perched upon a bullet shaped dome containing a nest and egg. Several artists took this exhibition as an opportunity to display new directions that there work was developing and for quite a few this incorporated using light, sometimes natural sometimes illuminated from a real live light bulb.
This was a selling exhibition so no doubt visitors played that old mind game of valuing art with a cash register rather than their heart. I assume there is logic in how artists set their prices but £5000 for a bowl seems excessive. That's of course until one learns the history about the piece and appreciates the work put in by the artist who may or may not be a household name. Some people know me but I remain quite good value and never cheap.
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“Boro Boro”
“Not a wine glass”
B.S.S.G. JOURNAL - VOL 54/No. 4 149 Retirement of Paul Le Pinnet
On Friday the 29th July 2016 friends and family were invited along with work colleagues to SOG Ltd at The Heath, Runcorn for a retirement lunch and presentation to Paul Le Pinnet. He was presented with a garden bench by Mr John Lewis, Managing Director of SOG Ltd. It was a great tribute to Paul with accolades and praise from Mr Charles Davis, Director, Mr John Lewis Managing Director, Mr Peter Cook Chairman, and Mr Bob Moore Technical Services Director (retired).
150 B.S.S.G. JOURNAL - VOL 54/No. 4 B.S.S.G. CHAIRMAN'S LAST MESSAGE Will Fludgate first joined the BSSG just over forty years ago and have been the Chairman for the past seven years. I've overseen a period of change and I'm really happy Ito be leaving the position in its current situation, stable and with focus, although I'm well aware that it is the efforts of all the Council members that got us here, including the Board of Examiners. The change that has happened in the last seven years is more to do with the social media that surrounds us all that allows instant information at your fingertips.
When I first became the Chairman, social media was in its infancy, just like the time when I became the Societies Secretary in the early nineties and I had to invest in a new computer and get everything onto floppy discs. I was told that was the way to go as we will be using the computer for almost everything. How right were we back then?
So what's it been like as the Chairman in that time? Placing the chain of office around my neck was a symbolic thank you to my mentors Alex Kovacs and Cecil Cullingford, they believed in me, they made me work hard, to make work easy later on in life. Also, I had to carry on the work from our previous chairman, Ian Pearson, and to try and keep things rolling just as he would have done as well, I just hope that I fulfilled his wishes. I have met with MP's, corporate business people, celebrities and ordinary people all interested in our work as scientific glassblowers and the Society that I am so proud to be a member of. Visiting overseas workshops to see trainees at their best; presenting medals to winners of a prestige competition that was awarded by the President of France; attending and speaking at a German Symposium and helping out with some on hands training with students over there.
I have many thanks to share for the help from our previous Chairman Ian and also for keeping the Journal up and running as the Editor. I have three secretaries to thank, Willie McCormack when I first took up the office, Terri Adams who has been a stalwart and kept me up to date with matters concerning our Society and of course Johanne Fludgate for cracking the whip in all matters BSSG and work related issues. Then we have the financial side of matters, Dan Jackson and Phil Jones have kept us on the straight and narrow and I would like to thank you guys as well. We have the Board of Examiners and their Chairmen, Steve Moehr, Brian
B.S.S.G. JOURNAL - VOL 54/No. 4 151 BSSG Chairman’s last message
Moore and Matthew Myles for the work done and working with you to update the exam papers (with Terri's input as well) and for the work done with Robert McLeod to investigate the formalisation of the exams.
It's not always been easy sitting in this chair but the best challenges always have their ups as well as downs. I've enjoyed every minute that I've been here and I hope my successor can take the BSSG on to even greater heights. We have great challenges and great opportunities, and with your help, we will meet them and make this next year the best year in our history!
I will close with an old hunting story from Scotland.
Mac and Scott are out hunting in the Highlands and they shoot a deer. They begin dragging the deer back to the truck by the tail, but they keep slipping and losing both their grip and their balance. A farmer comes along and asks them, “What are you lads doing?” They reply, “We're dragging the deer back to the truck.” The farmer tells them, “You are not supposed to drag a deer by the tail. You're supposed to drag the deer by the handles. They're called antlers. You're supposed to drag a deer by the antlers.” Mac and Scott say, “Thank you very much for the idea.” They begin pulling the deer by the antlers. After about five minutes, they are making rapid progress. Mac says to Scott, “Scott, the farmer was right. It goes a lot easier by the antlers.” Scott replies, “Yeah, but we're getting further and further from the truck.”
How is that relevant to the BSSG? “The majority of people in life are pulling the easy way, but they are getting further and further from the 'truck' or their real goals and objectives.” I believe we have things right, we pull together and we need to show the way for the future and if that means helping out the new Chairman, I will be there by his side.
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