RDS National Craft Awards 2014

This year the Glass Society of Ireland were proud to be able to sponsor a prize at the RDS National Craft Awards. The GSoI Ireland sponsored prize was €300 this year and was won by Sadhbh Mowlds a recent graduate of the National College of Art and Design in Dublin. Sadhbh's main interest is in blown glass and she is travelling to Berlin Glas EV this summer to hon her skills. We were delighted to be able to provide some support for this young artists to continue with her craft. Congratulation Sadhbh and we look forward to hearing how you get on in Berlin - keep in touch!

In the main glass category was awarded to Denis Brown (who also was awarded for his work in the calligraphy and lettering). His layered glass panels were created at his studio in Sandyford. For more information on Denis you can visit his website HERE 

We were also happy to see many familiar faces that got selected for the exhibition which will be open for the duration of the Horse Show and will then travel to this year's City of Culture, Limerick and will be on display at the Hunt Gallery. Those selected for the exhibition in the catagory of glass were: Rose Sinclair Doyle, Eva Kelly, Denis Brown, Sadhbh Mowlds and Mc Gonigle Glass Studio.

Eva Kelly with her beautiful
pate de verre collar

Rose Sinclair student at NCAD
entering her final year in 2014

We hope that next year we will see even more entries into the glass category!

For a full list of this years awards click HERE

Glass Art Society Conference Chicago 2014

Richard Royal Demo

Coming from NCAD’s glass programme in Dublin, I was excited about the opportunities that going on student exchange at Southern Illinois University would bring. One of these opportunities was to attend the annual Glass Art Society Conference, held this year in Chicago. The conference ran from March 19-22 and was hosted across a few venues in Chicago. The lectures took place in the Palmer House Hotel near Chicago’s busiest area, the Loop. Demonstrations from artists took place in Ignite Glass Studios and West Supply Glass Studio. I had the fortune to stay at the Palmer House with the students from Southern Illinois University; I already knew this would be the nicest hotel I would stay in for a long time! Day one began with a welcome note, Lifetime Achievement Lecture and the Keynote Address in the Grand Ballroom of the Palmer House. What a beautiful surrounding for some great talks! Demonstrations were held during the latter part of the day in West Supply and Ignite Glass Studios. Marc Petrovic demonstrated his iconic birds in West Supply while Richard Royal tested the capacity of the glory holes in Ignite with a massive glass ball.  The opening reception was held in the Grand Ballroom later that night, with delicious signature food and punch from the Palmer House served on silver platters, no expense was spared!

Karren's lecture 

It was an early start for the second day of the Glass Art Society Conference in Chicago. The Emerging Artists talks are often one of the most popular lectures at the conference and this year was no exception, the room was filled with early birds. Jiyong Lee, currently on the Board of Directors for the Glass Art Society, and head of the Glass programme at Southern Illinois University introduced the three speakers; Steven Ciezki, Charlotte Potter and our very own Karen Donnellan. Karen, the only Irish speaker at the conference, received her Bachelor of Design from the National College of Art and Design (NCAD) in Glass, her Master of Arts from Rochester Institute of Technology (RIT) in New York State and is currently aArtist in Residence at NCAD. Karen begins her presentation with “Dia daoibh”, a friendly Irish phrase for my Irish ears.  She apologises for the early start as there were a few tired heads from the opening reception held the night before, but nevertheless looking bright-eyed herself. She explains that she is a qualified Reiki practitioner. The influence this has in her work becomes apparent as the lecture continues.  When Karen was an undergrad, she also participated in a student exchange at Southern Illinois University.  She discusses the work she developed there based on Chakras and shapes associated with feelings of being grounded and low centres of gravity.  Karen admits that colour for her was a language she used freely at an undergraduate level, but whilst studying in RIT she challenged herself not to use colour and thus found a new language in texture and form.  This language can very much be seen in the work that follows.  Her work has a meditative quality. Donnellan discussed how she signified this in her work 21 Days: this being the required timeframe to complete the healing process in Reiki cleansing.

Karen Donnellan 21 Days

Quite refreshingly, Donnellan shows a video of some glass-making processes, the audio of ringing solfeggio tuning forks filled the room, uninterrupted by any audience member. Again her focus on meditation can be recognised in this piece. Much of her lecture consists of talking about her time spent in an Emerging Artist Residency in Pilchuck Glass School in Seattle. She talks about the collaborative work she created with John Hogan. This work is more recent and explores the light and optics of glass.  Recently she has been invited to have a solo exhibition at the National Craft Gallery in Kilkenny. She talks about her interest in sound and the grant she recently received from the County Council to employ a sound technician. 

Donnellan mentioned other achievements but unfortunately one could only write so fast. She is an emerging artist with huge potential and is beginning to be recognised on the world glass art stage. Her pathway from undergrad on exchange at SIU to Emerging Artist at the GAS conference is a colourful, busy and a successful example for Irish glass artists.

After Karen’s lecture, I headed to the demonstrations later that day. I got the chance to see two marvellous demonstrations in Ignite and luckily for me I had a good vantage point of both lampworking and blowing studios. Chris Carlson demonstrated marble making with colour chip pick-ups and Martin Janecky also tested how large a piece could fit in the glory holes with a huge bull head.  Both demonstrations were heavily attended.

Chris Carlson making marbles 

Martin Janecky making a giant bulls head

At 5 o clock the Gallery Hop kicked off. Unfortunately I was not able to participate but the feedback was excellent. The hop featured many of Chicago’s exciting galleries such as the Made Gallery. The last day of the conference had an early start with demos beginning at 8am. I attended Kiva Ford’s lampworking demonstration in West Supply where he maticulously created a bottle within a bottle using blown borocilicate tubing.

   

Kiva Ford Flameworking demo

The Student Exhibition was open to the public later that evening and I took the opportunity to present my work in this show. Another highlight of the evening was the Neon Exhibiton also held in the Palmer House. Other services were available on the last day including the portfolio review open to all students, where one had the opportunity to have their body of work reviewed by a panel containing some of the Board and the demonstrators from the conference. The closing night party was held in Chicago’s Culture Centre and no better place to gather all these glass fanatics together than under its famous Tiffany glass dome.

The conference took place over three days and the schedule was jam-packed with demonstrations, lectures and several educational resources.  The Glass Art Society offers a discounted conference ticket price to members so it is definitely worthwhile becoming a GAS member. It also allows you to apply for scholarships to attend their conferences.  It was announced this week that the GAS Conference 2015 will be held in San José, hopefully there will be more Irish glass artists out in full colour there!

Myself, Karen Donnellan and Jennifer Mulligan, all GSoI members at the Closing Party

                                       

Written by Laura Quinn, GSoI Student Rep Dublin 

Bright Adventures: Interview with Karen Donnellan

In my new position as one of the National College of Art and Design (NCAD) glass artists in residence, I have the pleasure of sitting beside one of the most interesting emerging artists in Irish Glass today: Karen Donnellan. We have been acquainted for some time, meeting at glassy events and giving the awkward nod of acknowledgement which says ‘I know who you are...ish’ on campus. While she was a familiar name to me, I was otherwise concerned with important student matters (drinking and danc- I mean intensive study) but now we’re desk-neighbours. The significance and scope of her practice to date has seriously impressed me. 

'Ensō II', Pâte De Verre,Karen Donellan, 2011

Karen is my favourite kind of hippy; one with a great work ethic. The circle often features in her works and she treats the intricate, repetitive methods of her making process as a meditation or mantra. At its core, her practice explores the potential for healing via the manipulation of universal energy. It is thoughtful, considered work, made with care and informed conceptually by her extensive study of metaphysical philosophies. She also practices what she preaches; I've seen her burning sage to clear a space of “dense energies” and she’s a qualified Reiki healer.

'Essentia' -  Karen Donellan  

Since she graduated with her MFA from the Rochester Institute of Technology (RIT), New York in 2011, Karen has worked and exhibited extensively. Many readers will be familiar with her Essentia series which featured in last year’s Future Makers prize-winner’s exhibition at the NCAD Gallery and most recently at the Irish Craft Portfolio Exhibition at the RHA. 

Sometimes as an artist, you come across a web-page that is the visual equivalent of a particularly delicious ice-cream. Recently my little bit of internet delight has been J/K: Light Glass and Space: The blog began as part of an ongoing collaboration between Karen and American glass-artist John Hogan and thus far has led to their exciting Emerging Artist Residency (EAR) at Pilchuck Glass School last autumn. This blog is packed with my favourite kind of internet eye candy; sculptural light and experimental glass.

After combing though the blog for an unhealthy amount of hours I asked Karen if she would do a short interview about the experience and her future plans:

MM: The work you made at Pilchuck is visually very different to your previous work from your MFA. Was that because it was a collaboration or have you moved your work in a different direction?

KD: A lot of people have said that; that it doesn't look anything like my work, but I wear ridiculous colours all the time! I worked with colour the whole way through NCAD and the light and projection has always been an interest. In core year at NCAD I worked a lot with plastics, water and light. Then again during the masters, I spent some time experimenting with an overhead projector and seeing how different glass objects projected. I've dabbled on and off with those ideas and maybe I wasn't encouraged or didn't have the confidence to bring it any further but it’s always been an interest.

Collection of 'curios' , cut polished and laminated glass,  J/K 2013

MM: How did you decide to collaborate with John Hogan?

KD: We met at Pilchuck in 2012 when we were both Teaching Assistants. We were sharing the same studio space and assisted each other a bit in the hotshop. John works as a glass blower and designer in Seattle. He’s also done a lot of casting and cold working. (He did a residency last year in the Czech Republic with the maestro Milan Handl.) John showed me his work and I was just really into it – he was using a lot of dichroic glass and gave me some to try out. I’ve always been fascinated by dichro. You don’t see it used much in contemporary work, it’s completely underrated! I suggested a collaboration and when the Pilchuck residency came up we just said, “let’s go for it”!

Projection. J/K 2013

ME: You did loads of different things during your time at Pilchuck, is this collaboration going to continue?

KD: Yes, definitely. The work we've made so far is really experimental and even though it was a seven week residency it felt like we had only got going when we had to finish. The work developed in various directions but on the next residency we’d like to hone in on the rear projection systems.

MM: So I guess the last question is what’s next for you?

 KD: Work-wise I’m getting to grips with neon and developing some new projects around glass and sound. I’ve also just begun working on some lighting designs with Suzannah Vaughn and Perch. At the end of the month I’m heading to Cill Rialaig in Ballinskelligs for a retreat residency. The plan is to get away from glass for a while and just read, draw, paint…and maybe print.

Since I spoke to Karen for this interview there have been several exciting developments: Firstly it’s been confirmed that she will teach a pate de verre workshop this August at the Glass Furnace in Turkey. She has also been awarded an Emerging Artist Lecture at this year’s Glass Art Society Conference in Chicago.

Finally, massive news for J/K – Karen and John will continue their collaboration with a week’s residency at the Toledo Museum of Art in Ohio from March 14^th – 19^th. I can’t wait to see what they do next!

'Golden Rectangle' - hand made sheet glass, wood. 73x16x5, J/K, 2013

Written by Meadhbh McIlgorm,
GSoI Media and Communications Officer

(top image: Scan of dichroic glass, J/K 2013)  

GLASS GALORE! @Sculpture in Context,2013

Sculpture in Context - a must see event on the Dublin art calendar.

Set up in 1985 by sculptors who wanted to create exhibition space outside the normal white-cube gallery, Sculpture in Context now sees the grounds, ponds and glasshouses of the Botanic Gardens transformed each September into the biggest and most prestigious outdoor exhibition in Ireland.

      Sticky Bog Sundew - Gwyn Grace                        Vessels (of Remembrance) -  Alison Lowry 

This year over 150 artists from Ireland and abroad are exhibiting their work. 

Application is open to everyone and the successful applicants are selected by a panel of judges which changes annually. Thanks to this very democratic selection process there is always a great variety of entrants ranging from students to established artists and together working in almost every medium imaginable. 

The packed opening night reception

We know that we’re ever so slightly biased here at GSoI but as in this case the figures speak for themselves - Irish glass artists really held their own in the Gardens this year. 

There were 12 notable glass pieces amongst the collection from artists;

Karen Donnellan

 Naomi Draper

 Gwyn Grace 

Jesse Gunther,

Eve Kelly

Paivikki Kolehmainen (Finland) 

Alison Lowry

 Charlene McFarland

 Meadhbh McIlgorm 

Kira Myer

Sadhbh Mowlds 

Mags O’Dea.  

Further more, 2 out of the 3 Sculpture in Context Awards for large outdoor works of distinction in any medium were awarded to NCAD glass students: Jesse Gunther for his piece 'Desert Ophidians' (on view in the cactus house) and Mags O'Dea for her installation 'Tree Dressings' (a site-specific glass installation on a particularly weathered tree). Both Mags and Jesse received €500 each - well done guys! 

'Tree Dressings' - Mags O'Dea

The delighted Mags O'Dea with her prize

Both pieces were a big hit with the guests on opening night - watch this space - one of them could well be winning the prize for the most popular sculpture at the end of the exhibition in October.  

'Desert Ophidians' - Jesse Gunther 

The exhibition runs from September 5th - October 18th. Full programme of artists available in the visitor centre. 

Garden opening hours: 
Monday - Friday 9am to 5pm
Saturday & Sunday 10am - 6pm

Admission Free, Car Park €2

Karren Donnellan - Present Moment Reminder

 A visit to this exhibition is a lovely day out for all the family and a chance to see some very talented artists work outside the often intimidating setting of a gallery exhibit. 

So be sure to take a very cultured and colourful stroll through the Botanic Gardens before October 18th. 
We promise you won't be disappointed. 

Artists Michelle McDermott, Gwyn Grace, Mags O'Dea and Tara Butler-Frey
the enjoying opening night celebrations

Written by: Meadhbh McIlgorm 

NCAD end of show: Student Profiles

The final installment from NCAD's glass degree show 2013 and last but definitely not least Michelle Mc Dermott:

Michelle has a great interest in visual world around her, being particularly drawn to nature and organic forms. Her research takes her to many parks and gardens where she gathers this visual information, ready for manipulation in the studio. She says that ‘from a good image many ideas can flow’. Her interest in photography enables the production of these inspiring images.

The forms presented in the degree were a series of decorative panels developed from this study of organic objects. They have used multiple firing techniques and often encompass layers that give the flat panels a sense of dept. The shape used for the panels is a simple but effective leaf motif which provides a connection between their surface decoration and the form.

The result is a wall that looks like a magical plant climbing its way up to the light. The drawings are sensitive and the use of colour is minimal. The delicately of this approach creates an atmosphere which invites quite reflection.

I would like to take this opportunity on behalf of the Glass Society of Ireland to wish the new graduates all the best in future and we look forward to hearing about all your up and coming exhibitions – stay in touch!

written by Fiona Byrne

Glass at NCAD end of year show

Hi all sorry for the lack of blog posts recently it has been a busy time for us all at the Glass Society. We will have a shiny new webpage soon and our wonderful student rep Meadhbh McIlgorm has taken over from myself as the Media and Communications Officer. But before I hand over completely I wanted to share the amazing talent in this year’s National College of Art and Design degree show which featured: Jesse Gunther, Meadhbh McIlgorm and Michelle Mc Dermott.

We will be presenting a blog feature on each of the above newly hatched glass artists.

First up is Jesse Gunther:

Jesse’s work is a stunning combination of glass and metal work. The hugely labour intensive process used to create the glass components has resulted in wonderfully crafted pieces that are finish to an incredibly high standard. His use of metal started in his Dad’s workshop before college but it did not inform his art work until the creation of a piece for Sculpture in Context at the Botanical Gardens last year.

The appearance of his work seems futuristic and almost otherworldly. When I questioned him on this he said that all the forms for the pieces actually found their routes in nature. His artist’s statement describes how this series of biomorphic, hybrid sculptural forms represent an aesthetic exploration of a variety of natural organisms. He borrows features from insects such as dragonflies and invertebrates such as squid.

If you want to see these beautiful creations in the flesh the show is open until the 22 of June so there is still some time!

Written by Fiona Byrne

Boyd Sugiki & Lisa Zerkowitz: Lectures on personal practice

Apologies for the slow down on blog post in the last few weeks, I have been away in Scotland but am returning soon and will get lots of news and articles up ASAP! In the mean time you may like to get your glass fix at this talk at the National College of Art and Design:

Jeremy Lepisto at the National College of Art and Design

The Glass Society of Ireland was delighted to attend Jeremy Lepisto’s talk at the National College of Art and Design on Tuesday. He is very open about his work both conceptually and technically which made for a fascinating talk.

Lepisto grew up in the glass capital of America, Toledo, Ohio. This industrial setting has made a huge impact on his aesthetic. Looking at his body of work you can see hard architectural lines as well as iconic structure such as his water towers. These visual influences are only one part of the narrative which resonates from his childhood into his present day life.

The work ethic in the family was strong and Lepisto himself worked from an early age. He spoke fondly of his family and specially his Grandfather ‘Pops’. Lepisto tells of how his Grandfather took great pride in his work and believed “a firm foundation is the key to a successful structure”. This sentiment has left its mark and this can be seen not only in the care and quality of the art works Lepisto produces, but also in the images he showed of his immaculate workspaces.

Lepisto describes his work as self portraits, each one reflecting his current situation and how it relates to his present environment. In doing this he creates a body of work which encompasses both the banality and the complexity of life simultaneously.

This work, inspired by a sense of place and strong relationship with the visual experiences available in the United States, came up against a challenge when Lepisto and his wife made the decision to move to Australia. Away from his support network and the landscapes which appear as such an integral part of his early work Lepisto had to tackle his art from new angles.

The most recent series, the container series, looks at transition and how life in one location can be packaged and moved another location. The lack of imagery in this series stems from a concern about appropriation of Australian vernacular architecture. This landscape, not yet ingrained in Lepisto sense of self, perhaps in time will begin to creep into new work. The auto biographical element in the work is strong and Lepisto is very open about the events which inspired the works.

 In an earlier series building blocks the pieces can be moved to form double meanings. In one position the images build from the edges into a cityscape, arranged in their second configuration to buildings start at the edges of the work and fade into a blank space in the centre. Lepisto explained how this series was made in a period where he and his wife where living in different locations. He drew our attention to the position of two small post boxes in the imagery and the piece changed from a clever puzzle to an eloquent expression of the pain of being apart and the joys of being reunited.

Lepisto’s practice is visually very beautiful and would be pleasing as studies of environment alone. However, it is the ability to produce subtle meanings in the works which push them to a new level of significance.

For More Info on Jeremy's work click HERE

by Fiona Byrne