Mark Lewanski

Portland, MI

Woven glass is an enigma, a contradiction, a complex and beautiful mystery. It challenges the observer in his perceptions of material properties. It is at once soft, like a delicate fabric and cold, vitreous and eternal. Metaphorically, it is the intersection of dreams, the impossible made possible. Simply stated, I weave with glass. It's not an illusion, it is truly woven.

Robin Kittleson

Geneva, IL

Kiln formed glass with a focus on the functional. Made from hand pulled murrini, a traditional glass technique, reinterpreted in a modern context.

Fred Kaemmer

St. Paul, MN

I use conventional glass materials in unconventional ways to decorate the interior surfaces of hand blown glass vessels. This includes tumbling glass cane inside vessels to create fused nests of glass and applying silver and copper leaf, by hand and while the piece is still hot and on the punty, to the interior surface. Fusing the metal leaf to the interior in this fashion allows the metals and original colors of the vessel to interact and create somewhat serendipitous and new colors and patterns. It is this balance between serendipity and control that is at the core of my work and motivates me to try new things.

Nicolette Jelen

Sag Harbor, NY

I create complex structures in glass and plexiglass boxes by engraving or silk screening on glass, layering them in the box to create a 3d effect. The boxes have LED bases. My mirrors are silvered and distressed, I use eglomise, a venetian technique that removes the silver from the back, replacing it with painting, guilding or paper that create swirling worlds behind the glass.

Andrew Iannazzi

Cambridge, MA

Andrew Iannazzi is interested in iconic design language and imagery. He draws from historical Italian and Scandinavian design as well as American popular imagery. Glassblowing is the perfect medium for the investigation of these issues. Iannazzi uses his objects to explore functionality, form, and iconic representations.

Scott Hronich-Pernicka

Malta, NY

With meticulous rigor, I use a flame-working process to melt and shape high-quality Borosilicate glass at temperatures over 3000 degrees. Color is added using different types of crystallized metal and metal oxides. I view my work as tangible way to capture magic and wonder and contain it a handheld illusion with no curtain to hide behind.

John Geci

Bakersville, NC

Glass is often described as a super-cooled liquid, but I prefer to think of it as static motion. I try to design pieces that retain the organic character of their molten state. Using primarily transparent colors and a few well-placed stripes, my pieces highlight the material’s transparency, fluidity and potential for brilliant coloration. Rather than making works that demand to be center stage, I envision my pieces as quiet assistants subtly enhancing the environments they are placed in.

Trefny Dix & Bengt Hokanson

East Hampton, NY

Our blown glass vessels are sculptures. The murrini patterns and color washes in our work are used to emphasize every aspect of the sculptural forms and bring to life the glass itself. The curves are wrapped with color; tall forms are latticed with surface murrinis and clear windows are splashed with abstract murrini patterns. The glass's transparency, its rich color and its ability to become any form are all at play in our work. We use a combination of Italian, Swedish and experimental techniques to create our glass forms. Modern painting and sculpture, world textiles, urban graffiti, natural landscapes and marine life have all been inspirations for our work.

Anna Boothe

Zieglerville, PA

With technical inspiration taken from a 19th C. French glass-casting technique known as pate de verre, my glass assemblages are created in a kiln by fusing sugary particles of lead crystal. The individual elements are first hand-carved in wax or cast directly from botanicals; and once transformed into glass, are combined to create multicolored jewel-like objects I refer to as talismans (hand-held, free-standing and wall-mounted), sculptural constructions and one-of-kind scent bottles. Imbued in each object is a reference to historical artifact, a sense of preciousness and the intangibility, yet familiarity that is associated with collaged memory.

John & Erin Blackwell

Woodland Park, CO

2018 Best New Artist

Look close... No one else can make what we can. Using the most difficult techniques to make truly original, contemporary art, merging colors to create a feeling within, makes your heart race like an addiction when you look into the glass that is what it is all about.


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