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)