Narrating Process - a Northlands Glass Experience

Remember back when it was summer and some of us lucky few got the chance to travel and take some amazing glass classes? GSoI member Catherine Keenan travelled to our friends at Nothlands Creative Glass, an amazing glassy place not too far away from us - find out about her experience!

'The Worst Journey in the World' James Maskrey

My first experience of Northlands was in 2008 when I got the opportunity of being a teaching assistant for american hot glass sculptor Richard Jolley.  It was one of those complete shot in the dark applications that surprisingly, and dauntingly paid off!  Luckily I wasn’t the only TA, seasoned Northlands gaffer James Maskrey was also there.  This put me in the comfortable position of being Richards second assistant and also to work directly with the beginners to glassblowing.  It couldn’t have been a better experience to build up my confidence in the studio and also in teaching.

I had forgotten what a special place Northlands is and this time I was the student and James Maskrey the teacher.  Since I last saw him in Scotland in James has become a leading figure in British glass, and deservedly so.  He masterfully marries his virtuosity in a variety of glassblowing techniques with his talent for storytelling to make sublimely elegant vessels that subtly suggest narratives in the form of marks, colour, text, and figurative glass miniatures.  A large body of his work brings to light fascinating details of historical journeys such as that of Cook, Scott and Shackleton.

“Narrating Process” was the course title and we had nine packed days to explore themes and means of employing storytelling in blown glass pieces.  There was a clear structure to the course, we had two projects to complete, a short ‘one-liner’ and a more substantially researched final project.  The first day was spent exploring the local area to gain inspiration, we then had allotted ‘bench time’ (glass blowing) and also the opportunity to see demonstrations by Jim.  I was particularly interested in seeing incalmo and murrini and also his ‘Working Solo for Sad Singletons' - how to blow glass without an assistant.  

making murrini

For me this was the first time since I was a college student, seven years ago, to really indulge in the creative process.  Since then I have hired studios to make my work and therefore experimentation has been very limited.  The nine days at Northlands was a chance to play with the material, to be less precious and not worry if the piece ended up in the bin.  It was a chance to generate new ideas and approaches, to be challenged and thereby consolidate what I do and why I do it.  It was essentially a more intense and condensed art college experience, and I loved it!

Catherine's class experiments 

As our masterclass leader, James set the tone for the group dynamic.  There were six in our class, of a variety of ages, skills and backgrounds.  I’m not sure whether it was due to being so closely involved with previous masterclasses at Northlands, or because he was in a rugby team in his youth, but James made great efforts for our group to bond.  One particularly clever ploy was a game he devised, we each had to choose our favourite music track, tell this only to Emma Baker our TA, who made a list of tracks at random and then we had to guess who’s track was whose.  We each threw some money in the pot and the winner got the lot...although they had to take everyone else to the pub and buy the drinks!  I think this investment in the social side of the class was very insightful on James’ part.  It made for a very pleasant working environment, we all enjoyed and benefited from hearing each other’s ideas and half of the experience of going away to do a class should be the time spent with new people. 

The class group

The staff of Northlands are also obviously aware of the essential social aspect to the experience, with amazing dinners arranged every night, a programme of students and tutors giving presentations of their work in the evening, and a day in the middle of the course to explore the local area in groups (I joined the boat trip that followed the breathtaking coast from Lybster up to Wick)

The studio experience was brilliant, with unlimited access to materials and more than enough bench time to make work.  Just being at Northlands however, meeting interesting people in a ruggedly beautiful landscape, was equally enjoyable...and I even saw the northern lights!

Written by GSoI Member, Catherine Keenan

Glass Highlights from Sculpture in Context 2015

Louise Murphy - Arderin

If you have not ventured to Glassnevin this autumn to see the gardens in all of their glory, this is the time to do so. Once again talented glass artists have made themselves known at the Sculpture in Context exhibition at The National Botanic Gardens in Glassnevin. This year’s exhibition had the highest amount of entries to date. It was a challenge for the judicators to choose just 160 of artworks from 384 submissions. Congratulations to all artists who have participated in Irelands largest and most prestigious annual outdoor sculpture exhibition. Here is just a glimpse of works from this year’s show. (All photographs by Karl Jordan).

George Walsh - Spirit of the Harvest

Classically trained stained glass artist George Walsh shows two exquisitely made pieces Fishermen, (painted and fused glass) and Spirit of the Harvest, (Painted Antique Glass) greeting you as you enter the gallery space. 

Also in the gallery is some emerging talent from NCAD glass student Louise Murphy. Arderin, is a sculpted mountainscape that displays the reflective and optical qualities of shot glass. Just beginning her final degree year, this is the first time Louise has shown in this exhibition. 

Gwyn Grace - Sundew Sparkle

There are quite a few familiar names in this year’s exhibition: It is exciting to see the work of recent NCAD graduate Gwyn Grace, this year returning with Sundew Sparkle (cast bronze, glass and bog oak). 

Sinead Brennan - Gone to Pot

Sinead Brennan, GSoI board member and Waterford the Glass City project coordinator is showing some beautiful hot sculpted pieces in a mini installation, Gone to Pot. Both artists’ works this year are finely displayed in the gallery window directly in front of Whole world in your Hands, a piece by Beth Newman Maguire (bronze and Cavan Crystal).

Whole world in your Hands, a piece by Beth Newman Maguire

Another returning exhibitor in the gallery, Dublin artist Eva Kelly shows her vibrant and colourful wall mounted glassworks ‘Oranges and Lemons’. Last but not least, before we venture outside, Willie Foley shows Gilded Cage made from glass and steel.

Eva Kelly - Oranges and Lemons 

Willie Foley - Gilded Cage

Out in the gardens don’t forget to stop and smell the Deise Daisies by William Harvey made with glass and bronze.  

Deise Daisies - William Harvey

Mags O’Dea is dressing up the trees again (you might remember her award winning glass piece from 2013 so we thought we'd bend the rules and mention her again).Another recent graduate from the glass department at NCAD, she is currently studying an MA in sculpture. Mags’ Burlesque (coloured waxes and textiles) can be also found as you venture through the gardens. 

Mags O'Dea - Burlesque 

Of course, there are over one hundred more pieces to be found as you explore the exhibition nevertheless I hope we have given you a showcase of this year’s glassy entries.

Be sure to check out Sculpture in Context 2015 at The National Botanical Gardens, which will run until 16 October 2015. Admission is free and it's a great visit for all the family to enjoy. Opening times are 9-5 weekdays and 10-6 weekends and bank holidays. Free tours of the exhibition every Tuesday 10.30am - 11.30am and every Saturday 3pm - 4pm. Full programme of all the artists and works is available at the reception. More details and contact info see their website. 

Written by: Louise Murphy

Photographer: Karl Jordan

(Thank You to Jackie Ball for your help!)

CRAFTed Stained Glass with Gerlinde Kugler

The Design and Crafts Council Ireland’s pioneering CRAFTed Programme has been connecting primary teachers with professional crafts peoples for several years now. The programme gives schools the opportunity to teach many techniques that wouldn’t ordinarily find their way into the classroom. Earlier this year GSoI member Gerlinde Kugler undertook one such project 

to share her experience in stained glass with teacher Rebecca Ivanoff and her 4th Class in Carysfort National School in Arklow. 

We asked Gerlinde to tell us a bit more about how it went: 

~

During March and April 2015, I was awarded a CRAFTed Project by the Crafts Council with Rebecca Ivanoff and her 4th class for 10 time hours. The theme was to be ‘Construction’ and the teacher wanted to introduce the children (10 years old) to glass.

Plastic and Wire Necklace 

To introduce the children to the tools, metal and wire we started by making some jewellery using silver plated wire and coloured plastic strips (cut from plastic folders) as they were coloured and transparent; a little bit like glass. Mother’s Day was around the corner so even the boys were motivated to design and make a necklace.



Next we did some wire birds. First the pupils did a line drawing and then bend fencing wire to the correct shape. They tied some pieces of coloured transparent plastic and some beads into the birds with tying wire and a button or jump ring as an eye.

Wire birds

For the next stage in the project I introduced them to glass and showed them some of my work. The teacher had already researched with the class how glass is made and which materials we would be using.

I demonstrated the Tiffany technique, smoothed the edges of a glass bird and explained and showed how the copper foil was wrapped around the edges.

Each pupil could now choose a pre-cut glass bird, the colour and shape they liked and a beak to go with it. As everything thing was pre-cut, and smoothed there were no dangerous sharp edges in the classroom. 

We worked in groups and were fortunate to have some mums as helpers. The children also made a tail and/or a headpiece from wire for their bird. When it came to soldering, for safety I took just two pupils at a time in order to be able to supervise closely as they worked. While that process was happening, the other pupils could choose to do more jewellery or wirebirds.

The 28 glass birds were going to be mounted on a tree in the window in the hall for everybody to enjoy.  

I shaped the trunk of the tree from a wide timber board, 160 cm high, painted it and fixed sculpture rods (RPM Supplies) onto it which then were shaped to become the branches.  As I could only use one half of the window for the display the branches of the tree had to be on one side only. I tied and soldered the birds onto the branches and fixed the tree into the window.


There was just one problem: All the pupils were in love with their bird and did not want to part with it. The solution: Everybody made a second bird to take home and all were happy and proud.
For more information you can contact me by email: gerlinde@kugler.ie - And have a look at my website www.gerlinde.ie

~

Thanks Gerlinde for sharing your experience with us. Other glass artists who have completed projects with Schools include Deirdre Rodgers and Michael Ray.  For more information on CRAFTed Projects see the DCCoI Website - and tell us if you have been involved in a similar project! 

The Irish Invasion - Pilchuck Session7, 2014

Fred Curtis and TA Conor in the Cold shop 

Glass. Rarely seen glass. Mother Teresa. Water/Waader/Wawsher. Hot Glass. Painting Party. Crown Jewels. Irish Glass. S’mores. Beer. The Pond. Falling into the Pond. Cold Glass. Volleyball. Cartwheel Races. Golden Apron. Laughing. Crying. Glass Music. The Bell. Hot Shop Party. Climbing Walls. Silent Auction. Crazy Hair. Glass. Glass. Glass. Pilchuck was something else. A week just wasn’t enough.

The cold shop on a beautiful day

Unlike other summer classes at Pilchuck, Session 7 was an open-studio session where students were free to work in all areas of the campus. This session attracted students of all levels and backgrounds many using the open studio experience as a chance to explore glass for the first time. A diverse and intriguing programme was on offer from instructors Róisín de Buitléar (hotshop), Fred Curtis (coldshop), Walter Lieberman (glass painting), Armelle Bouchet O’Neill (kilnforming) and Amber Cowan (flameshop).The enthusiasm of the students, the knowledge, skill and personalities of the instructors and the addition of inspirational live-wire Laura Donefer as the Artist in Residence into the mix resulted in the creation of some distinct, exciting, experimental art and enthralled students.

Fred with his TA's

This was my first time at Pilchuck and I was both delighted and nervous to be tasked with serving as a Teaching Assistant (TA) to the great Fred Curtis, Master Glass-Cutter from the Waterford Crystal Factory. I spent my time in Pilchuck’s fantastic cold shop, organising materials and equipment and attending to the students. Despite being a fellow Wexfordian, this was my first time meeting the famous Fred. My glassy adventure began at the Museum of Glass in Tacoma, where I met Róisín, Fred and Antoine Brodin (one of Roisin’s TA's). The ground-breaking Caution Fragile! Exhibition was just about to come down. It was really great to witness such inspirational pieces of Irish Glass in such an important international venue. I was delighted to get the chance to see it before the end.

Fred Curtis getting out of his comfort zone in the Hotshop

 My day at the museum set the tone of the trip; I was already in awe of Fred, relaxed, laughing and surrounded by Irish artists. For such a small nation we were exceptionally well represented that session, to to the roll call there was: Róisín De Buitléar, Fred Curtis, Meadhbh McIlgorm, Aoife Soden, Andrea Spencer (English but now lives in Antrim so we're claiming her), Rozarii Lynch (Irish now living in Seattle) and myself - plus other honorary Irish (shout out to Conor McClellan Fred’s other TA, Irish in name)! It was great to see the appreciation that the students and staff, including the other instructors, showed towards us, with Fred being held in particularly high esteem. His reputation had definitely crossed the Atlantic with his demonstrations attracting the awe and complete attention of the audience. His cold shop grew in popularity throughout the week with students of all abilities getting their first experience of the infinite possibilities of cold glass.

A bunch of Irish people and some honorary one's half way around the world :) 

The week was a whirlwind - nonstop from start to finish. The campus was a real hive of activity with artist talks on all week when we weren’t making use of the world class facilities. Two talks of note were presented by our own Róisín De Buitléar and Fred Curtis. Róisín gave an excellent heartfelt presentation on the plight of Waterford Crystal and her work in response to this. Fred’s slide show took a different direction with a montage of some of his most famous and technically ingenious pieces. Its fair to say there were a few amazed expressions while Fred presided over the room.

Pilchuck Olympians Aoife Soden and Roisin de Buitleir

The old mantra of “work hard play hard” definitely rang true in the misty mountains of the Pacific Northwest. There was a real sense of fun about the entire week and this manifested itself in a number of interesting guises: From the tamer pursuit of hiking up the mountain to inspiration point - bottle of wine in tow and floating along the lake with fellow Irish TA Aoife Soden, to some more exuberant activities including an end of session hot shop party, dancing in the ‘Trojan Horse’ and the international athletic extravaganza that was the Pilchuck Olympics. With such a frantic week in the creative bubble of Pilchuck Fred, Aoife, Antoine and I eased ourselves back into the real world with a visit to the Dale Chihluly Gardens and Glass before leaving. A fantastic end to a truly ‘awesome’ week! ;)

At Chihuly Gardens, Seattle. 

End of adventure selfies

Written by Sinead Brennan 

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

GSoI Dublin Events 17th of June _ #chihulysses

To celebrate the arrival of Dale Chihuly in Dublin, the GSoI is hosting a number of events in the city on June 17^th to coincide with his lecture and exhibition of the ‘Ulysses Cylinders’ at Dublin Castle. 

We hope that our satellite events will encourage even more of you to come and make a day of this event. Follow #chihulysses on facebook and twitter to keep up with events as they happen. 

After the lecture at Dublin Castle we will also be hosting an informal get-together with drinks, food and a small glass display for anyone interested at Bagots Hutton Bar (28 South William Street, 15min walk away from Dublin Castle) which will be a lovely chance to catch up with old friends and maybe make some new ones. 

 Here’s what will be happening on the day:

Historical Glass at the National Museum of Decorative Arts

Debbie Dawson will lead a group around the Visible Storage section of Collins’ Barracks. Debbie will look at the historical collection which consists of Irish, American and European glass dating from the 18th to the 20th Century. Traditional collecting centered on the industrial manufacture of Belfast, Cork, Dublin and Waterford in the late 18th to mid 19th Century. Debbie will also discuss the important collection of high quality Irish/Irish-related contemporary works that were purchased in association with the Crafts Council of Ireland.

The stained glass windows of St. Teresa’s Church

Peadar Lamb will give a talk on the series of stained glass windows in St. Teresa’s Church on Clarendon Street, Dublin. The stained glass windows date back to the 1960’s; some of which were executed by the Abbey Stained Glass Studio. In 1989 a series of windows for the nave were commissioned and executed by Irish artist Phyllis Burke. The windows depict scenes ranging from of the Resurrection to portrayals of various saints.

The Blaschka Collection at the Museum of Natural History

Emma Bourke will lead a tour of the Blaschka glass models of sea creatures in the Museum of Natural History. This unique collection of Blaschka glass is one of the largest in the world and is still displayed in its original 19th century cabinets Researcher of Blaschka glass and trained as a scientific lampworker, Emma has an intuitive understanding of this work. At 3pm she will lead a group up to the restricted third floor balcony, where she will explain the importance of these pieces to our national collection, the creation of the work and the restoration of the exhibits. Spaces are limited on this tour so registration is essential to be guaranteed a space, contact emma.glasssocietyofireland@gmail.com to reserve a space. 

COLLECT London 2014

Kari Hakonsen - blown, cut and polished glass

Earlier this month London’s Satchi Gallery was once again home to ‘The International Art Fair for Contemporary Objects’, better known to everyone as ‘Collect’. A weekend trip across the pond to London is a bit of an extravagance for most at this busy time of year but since I’m now living a short(ish) train journey away I thought I’d share some of this year’s glassy highlights with you.

One of the very first exhibits featured Scandinavian glass work, including this beautiful transparent blown glass by Kari Hakonsen. Glass is never the most represented material at craft shows like this but what it lacks in quantity it makes up for in quality (then again maybe we’re just biased). 

Steffan Damn

Some familiar names from the UK and elsewhere pop up every year at collect: Danish artist Steffen Dam and his impossibly realistic hot sculpted jellyfish jars still fascinate me even more now I know how many stages and intricate processes creating them requires. Katherine Coleman, one of the best known glass engravers in the UK had some of her beautiful, optical vases on display and across the room another big name on in UK glass, Burno Romanelli showed some super precise and expertly polished kiln work.
  

Katharine Coleman - wheel-engraved crystal

Bruno Romanelli - Kilncast and polished glass

Unfortunately there wasn’t much in the way of an Irish glass representation this year. To the best of my knowledge we can only claim Dubliner Edmond Bryne, who is now based in the UK, as the sole Irish glass participant. Edmond, represented by the FLOW gallery, displayed a number of his signature textured mould-blown forms.  Inside the catalogue cover was Scott Benefield’s familiar canework advertising the Scottish Gallery but the actual work was not on display. 

Edmond Byrne 

Scott Benefield occupying the first page of the catalogue

Pia Raeymaekers 

Chantal Delporte 

'The Flanders Gallery' featured some interesting work from Belgian glass artists Pia Raeymaekers and Chantal Delporte. I thought Chantal’s work was particular interesting; she seems to be using pate-de-verre and lost-wax casting to create very detailed, natural looking forms. On some of them the frit seems to blend into the solid cast glass, creating an impressive mix of texture on the one sculpture. I would love to know how she does it.

Niyoko Ikuta - cut and laminated sheet glass 

One of my favourite pieces was from Japanese glass artist Niyoko Ikuta. Made of cut and laminated sheet glass, it caught the light beautifully and provided an interesting view from all angles. 

Niyoko Ikuta  (front view)

Some exhibits at 'The Gallery' at London Glassblowing 

The vast majority of the glassworks on show were shown in special exhibit from The National Glass Centre and ‘The Gallery’ at London Glassblowing. There were far more delightful objects on show than I could even photograph. As always there were some fantastic examples of contemporary jewellery in a huge variety of materials, ceramics ranging from the sculptural to the functional, metalwork, finely crafted wood, textiles and so much more. I really recommend a visit next year for inspiration and visual delights abound and with any luck maybe there’ll be a few more familiar pieces from our friends and members too! 

Louis Thompson - DNA Markers: Thermodynamics hot

London Glassblowing's exhibition space 

Written by Meadhbh McIlgorm
GSoI Media Officer