Michael Mikula

CLEVELAND, OH

Industrial architectural landscapes and the restless energy of cities point the way for this body of work, with references to the effects of time and remembrance of place. Multipart graphite molds are used as a tool to reinterpret architecture in blown glass. With a jazz-like sense of improvisation, I compose each mold from a large and growing library of interchangeable parts that are custom milled and hand carved by me. As a result, no two compositions are ever alike.

Minh Martin

CHARLOTTESVILLE, VA

I work in blown glass using traditional tools and techniques. Much of my work includes the use of silver and titanium. Other techniques include etching, threading, and incalmo. All pieces are freeblown and annealed.

Nick Leonoff

Brooklyn, NY

The luminescent qualities of glass appeal to me as it responds to light. I am drawn to the potential of a material that can vary from a translucent to an opaque medium in a brilliant range of colors and gradations. The blown pieces become the canvas for the carving process and the carving becomes the core of the design in each piece. Through this coldworking process I have been able to explore the potential of the material and focus my artistic vision.

Raj Kommineni

FLORENCE, MA

Lampworked glass marbles, paperweights, and pendants. I use a propane and oxygen torch to melt glass and use a variety of tool and gravity to shape and form glass. Many of the colors in my pieces are created using fuming with fine gold and silver.

Michael Schunke & Josie Gluck

West Grove, PA

Michael Schunke and Josie Gluck collaborate to craft contemporary hand-blown glass designs and one-of-a-kind art objects. From consistent multiples to unique sculptural pieces, their work displays brilliant color combinations, meticulous craftsmanship and a creative approach to form.

Scott Hronich Pernicka

ALBANY, NY

Through glass, I have found an art that will grow with me for a lifetime. In University, I enjoyed the three dimensional space of sculpture and the importance of colors in painting. Combining the qualities of these two mediums, glass has given me the chance to explore new creative possibilities. For almost seventeen years, I have sculpted glass into functional and nonfunctional works of art. Internal Fire is the exchange of energy between the artist and the collector.

Jason Howard

Skaneateles, NY

My current work and series, "Soul Cages: An exploration of change, time, and process," is about inner life forces. The simple bubble is the genesis of all blown forms in glass, perhaps even the soul of glass. I prefer to work in blown forms because they capture a touch of life and a unique part of the artistic process; the human breath. In this series, i've tried to "let go," allowing the bubbles to expand as large as they can without too much control over their shape as they inflate in one breath. Later i group them in abstract ways as they remind me of something, setting them in locally found stones, often with the living moss still intact. By piercing the bubbles with a flame and leaving only their pure form, these captured bubbles are reduced to their absolute basic structure, pure essence, or inner life force. They are not stitched or woven, but rather blown, manipulated, and fumed with precious metals.

Jay Houle

TALLAHASSEE, FL

I make kiln-fired glass vessels with needle felted elements, using a glass casting technique called pâte de verre (paste of glass). The main thread that links all my work is the visual and physical perception of texture. My forms often lean one way and bulge in another hinting at the shape of the hands that would hold them, an influence of Inuit sculptor George Arlook. I use tactile processes and materials like molding clay, plaster, glass and felted wool to create pieces that have multiple surfaces and surface textures.

Gary Genetti

WARWICK, NY

This work is a progression from my blown glass work. It is kiln formed which offers the ability to inlay color and embed the imagery between layers of glass. Each piece is sand carved, color frit inlayed and fired multiple times to achieve the desired result. The imagery is initially hand drawn and cut on a masking material covering the sheet of glass. I am inspired by ancient art from all parts of the world. My themes depict narrative events involving various flora and fauna in evocative emotional settings.

Alexander Fekete

Coudersport, PA

Glass can fascinate by the ability to contain light and reverse plasticity. Optical transparency, translucency and inner glow, needless to say broad expressive potential and bottomless variety of forms arising from its fluidity leave not much to be desired. Focus on Form has been so absorbing as to leave some unique qualities associated with glass, brilliant colors and shine especially, past the horizons of interest. Resulting objects are abstract, visually balanced, delineated by minimal representation of form and volumes. Frequently employed techniques are glass blowing, cutting, carving, sandblasting and spot polishing.

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