Emma Butler-Cole Aiken’s monumental stained glass sculpture is aptly named ‘Phoenix’, as it is a reworking and resurrection of one she created during the COVID-19 lockdown in 2020.
The new work evolved from the piece named ‘Sails’, which was a simple, triangular structure she was able to make herself from components ordered online. Sails was shown at the Chelsea Flower Show in May 2022 on the Glass Garden stand organised by fellow Contemporary Glass Society member, Gabrielle Argent.
However, Emma was disappointed by how it looked at that event. Despite its three-metre height, the vibrant colours looked dull as the stand was located in a shadowy area.
Later, she had the notion that the whole thing would work much better upside down – and preferably curvy!
A maquette made of paper and wire produced a surprising, bird-like form. It was a Phoenix rising from the ashes of disappointment.
Emma applied for, and received, a Creative Scotland Individual Award, which enabled her to employ expert assistance. James Maybury understood the vision and created an elegant, curved structure into which the original, stained glass sections were fitted.
James met the challenge of creating something sufficiently strong to hold the weight of the glass, but which could also be broken down into smaller components for economical shipping.
Interestingly, when Emma originally made Sails, she arranged it on the glass easel to see both sides of it in relation to the other as she was working. This meant that, when set up, one half of the sculpture would have the glass paint on the inside and the other on the outside. Usually, stained glass is painted on the inside surface to protect paint from the weather. Despite this, when making Sails, it was more important for her to work this way to see what she was doing.
Detail of ‘Phoenix’ showing the beauty of the stained glass.
Now, as Phoenix, all the paint is on an inside surface – as if it was always meant to be that way.
Phoenix is currently on show in Belgium at The Enchanted Garden sculpture exhibition, until 15 October 2023.
Image: The new ‘Phoenix’ sculpture by Emma Butler-Cole Aiken.
Following a call from the organisers of the International Festival of Glass (IFoG) and the British Glass Biennale for someone new to run these two-yearly events from 2026, the Glass Art Society (GAS) has been chosen to take on the role.
In May 2023, Ruskin Mill Land Trust, which has managed the IFoG for the past 20 years, announced that 2024 would be the last year it would oversee the event, which sits at the heart of the UK’s contemporary glass calendar.
IFoG Director Janine Christley said, “The GAS conferences have always been an inspiration to the Festival team. We are constantly impressed by the air of colleagueship and excitement, as well as the skill and professionalism in hosting such complex events. I am personally excited by the way GAS is expanding outside of the US to become a global network for the glass community and am thrilled that the Festival will benefit from these connections. The alternative Festival structure will also give GAS an opportunity to explore interacting with the general public and how to develop new audiences. There are going to be exciting times ahead.”
GAS will work with the Ruskin Mill Land Trust team on the 2024 festival, before officially taking the reins for 2026.
While the GAS conference focuses on bringing glass artists together and creating educational and networking opportunities to help further their careers and practices, the Festival is designed to showcase the artists, techniques and history of the dynamic glass community to the public.
Over the past few years, GAS has moved to make itself more global, through initiatives such as adding more board members outside North America, hosting conferences in Europe, and partnering with other glass organisations to highlight the work already being done to promote the glass community globally.
GAS Executive Director Brandi P Clark stated, “We plan to honour the history of the Festival while adding a GAS spin to it, and you can expect to see many new partnerships and opportunities emerge as we get closer to 2026!”
The GAS team and Ruskin Mill Land Trust are already working together on the 2024 Festival, which takes place from 23-26 August 2024.
The Contemporary Glass Society has always had a close affiliation with the IFoG and British Glass Biennale and looks forward to continuing this relationship in 2024 and beyond.
If you are a maker looking for free studio space and business mentoring in London, make a note to apply for the next round of Cockpit Awards this Autumn.
Opening for applications on 1 September 2023, Cockpit awards provide free or subsidised studio space at one of their London studios, plus one-to-one business coaching and a place on Cockpit’s business training programme. Successful applicants also join a thriving creative community of world-leading craftspeople.
Cockpit makers are selected for excellence in skill, originality of ideas, drive to grow their business or practice and ambition to contribute to the Cockpit community.
There is a variety of awards available, some of which are specific to a particular material or discipline, while others are open to all makers.
This time, there are eight awards open for entry. These include: the Arts Society GLA Award, for craftspeople using traditional skills – including those at risk of dying out; the new Bagri Craft Award, for a maker of Asian heritage working in any craft discipline; the Make It award, open to London-based makers aged under 26, which provides a two-year programme of support; the Newby Trust Award, for makers working in any craft discipline who are at a turning point in their skill development, plus the Grant-Turnstone Award, a new award offering a one-year programme funded by two Cockpit makers.
Those successful in the Autumn round will start in January 2024.
Applications open on 1 September 2023, with closing dates of 2 October and 6 November, depending on the award.
If you have any questions, or are unsure whether this is for you, get in touch with Cockpit via the contact form on their website. You are also invited to attend the Cockpit Awards Open Evening on 7 September 2023 (5.30pm-7pm) at Cockpit Bloomsbury, Cockpit Yard, Northington Street, London WC1N 2NP. This is an informal session where you can ask questions and learn more about the Cockpit Awards. Register to attend free here.
Image: Glass maker Lulu Harrison is a past recipient of the Cockpit Glass Sellers’ Bursary, who makes glass from waste materials found in and around the River Thames. Photo: Cockpit.
An 18-month, £1.5 million restoration of the West Midlands’ historic Red House Glass Cone has started. The cone is one of only four left in the UK and is a grade II* listed, scheduled ancient monument.
Dudley Council’s investment will cover the cost of the restoration and ongoing maintenance. It has worked with an accredited historic architect and Historic England to secure the appropriate permission to begin the works. The cone must be restored using authentic techniques and materials.
Work will include internal and external repointing of the entire structure from top to bottom with lime mortar. Vegetation sprouting from the cone will be carefully removed on a phased basis. Bricks surrounding each growth will be taken out, the vegetation and root growth removed, then the bricks will be replaced and re-mortared.
There will also be new drainage around the building and there will be access to the tunnels.
Inside the cone, the internal gantry and lift will be removed to create a more open, accessible space. A new lift will be installed by the visitor centre to allow wheelchair access to the upper level, where a viewing platform will allow people to see into the cone and hot glass studio.
The hot glass studio will be shielded during the works, allowing it to be safely reopened to the public while the work takes place. The studio will be updated with a more eco-friendly kiln. It will also be accessible from inside the cone once all works are complete.
Paul Bradley, deputy leader of Dudley Council, commented, “We know that people feel very passionately about the cone as it’s such an iconic part of the skyline and is a striking backdrop to people’s everyday lives as they walk to school, take the dog for a walk or just stroll along the canal. We’re so pleased to be delivering this ambitious project and restoring the cone to its former glory.”
While fencing and scaffolding will be going up over the coming weeks and months, the shop, visitor centre, coffee house and craft studios all remain open.
The Red House Glass Cone is 100 feet high and 60 feet wide at its base. It was built between 1788 and 1794 and operated for more than 150 years in the historic Stourbridge Glass Quarter. It is located near the Stourbridge Glass Museum, so there are plenty of glass-orientated attractions to see if you are visiting the area.
The Red House Glass Cone is at High Street, Wordsley, Stourbridge DY8 4AZ, UK.
Image: Adele Lavender (left), deputy site manager at the cone with Councillor Paul Bradley. Photo courtesy of Dudley Council.
Take part in the next Contemporary Glass Society (CGS) online exhibition – this time featuring architectural glass.
We live in glass buildings – both commercial and residential. We are surrounded by glass as a building material. Typically, it is used as transparent glazing within the building envelope, but we know what else it can be used for!
Windows, wall panels, ceilings, bar fascias, feature sculptures – all can transform their surroundings with colour, light, pattern, texture and design! A building is given personality, gravitas, exuberance or comfort by the inspired use of decorative glass.
So in the next CGS online exhibition, CGS members have the opportunity to flaunt your glorious architectural glass projects. What have you got to show us?
This is a CGS members-only exhibition. If you are not yet a member, why not sign up today so you can take part?
For existing members, the deadline is 25 August 2023 and the show will go live on 4 September 2023. Simply log in to your account and go to the Submit to Exhibitions tab on the left, find High and Mighty in the dropdown menu and upload your image and details.
Vicky Higginson likes to conduct extensive research before embarking on her contemporary glass work. Inspired by everything from the Japanese tea ceremony to old laboratory equipment, she reimagines forms in glass to express feelings in potent ways. Linda Banks finds out more.
What led you to start working with glass?
I started working with glass during my undergraduate degree in Manchester. I studied 3D Design and glass was among the materials we covered, although it wasn’t one I had given much thought to beforehand. I always thought I’d be a silversmith. However, in the second year, we tried glassblowing and I was immediately hooked on the process and its possibilities. I certainly wasn’t great at it at the start, but I felt an understanding of the material and I loved working in the hot shop. I went on to specialise in glass in the third year and then did a Masters in Sunderland a few years later.
‘Bamboo Flasks’ by Vicky Higginson. Photo: Marzena Ostromecka.
What glass techniques have you used and which do you prefer?
I’ve tried out a lot of different techniques, from blowing and hot sculpting to extensive coldworking and engraving methods. I’ve done some neon bending and would love to do more. I have also tried techniques like mirroring over the last couple of years. As well as learning specific techniques in my university education, I’ve attended courses to learn more about hot and cold assembly of glass. Traditional techniques include incalmo, Swedish overlays, cane and murrini, which I studied with artists including Rob Stern, Nancy Callan and Dick Marquis.
I love blowing glass and working in the hot shop, but I’m a particular fan of combining hot and cold techniques, whether that’s blowing component pieces and then cutting and joining them cold, or coldworking blown pieces with engraving or using diamond wheels on a lathe.
‘Artefact VII: Mind reader’ shows Vicky’s love of constructing a composition out of different glass parts. Photo by the artist.
What is your creative approach? Do you draw your ideas out or dive straight in with the materials?
My approach depends on what I’m working on and how much time I have to experiment. When I’ve been lucky enough to have access to facilities, for example as part of a residency, I love to experiment through making and see what happens. I have often come up with ideas for work just through trying out and refining different techniques in the hot shop.
I often back up my work with research, though, such as my investigation into the Japanese tea ceremony, which I reinterpreted for my final Masters project. Recently, I covered a broad range of influences from folklore, mythology and fairytales to historical medical equipment for my Jerwood Art Fund Makers Open commission. I then draw all the ideas together to create my work.
Because I work a lot with composite sculptures, I make a range of component parts and then play around with the composition. I may have an idea of the final form, but I rarely have a plan for the exact pieces that will be required. When I’m coldworking I use a mixture of freehand carving to see how a pattern or texture could turn out and sketch out different ideas in advance.
‘Artefact II: Spiral’. Photo by the artist.
What inspires your work?
I’ve had a lot of different inspirations over the years, but I often come back to Japanese and Scandinavian aesthetics for my design-based work. In my sculptural pieces I use a lot of bold colours and graphic shapes and patterns, inspired in part by the Memphis Movement and designers like Ettore Sottsass.
A lot of my work is concerned with ritual objects and the portrayal of personal narratives. I have researched a lot into culturally significant objects, used in rituals or given special meaning or symbolism. I’m really interested in how objects can tell a story, whether as their primary function, or as relics of past societies and people.
What message(s) do you want to convey through your art?
My latest bodies of sculptural work have been very personal. I started out making sculptures called the Artefacts that looked enticing but unsettling and threatening, which represented thoughts and emotions that are easy to believe but are ultimately harmful.
My recent ‘Coping Mechanisms’ works are in some ways a response to these, imagining objects that incorporate folkloric traditions with medical equipment to create healing devices to cure mental and emotional trauma. These include a reflex hammer to awaken emotional responses, an inhaler to numb grief, a pestle and mortar to break down overwhelming thoughts, mirrored devices to see things from different perspectives, plus a large installation inspired by ear trumpets and stethoscopes to communicate things left unsaid. The works respond to my own experiences of loss, depression and grief, but have connected strongly with the experiences of others. In this work I also wrote excerpts from a fairytale-like narrative, allowing a deeper understanding of the devices. I don’t want to be prescriptive in how people interpret the work and I have been delighted and touched that people have found personal connections with the themes and ideas I have explored.
‘Coping Mechanism to see things differently’. Photo: Shannon Tofts.
What is your favourite tool or piece of equipment and why? I bought a lathe a few years ago and it has become my favourite tool. Now I’ve got a range if wheels for it, there’s so much I can do. I use it to carve patterns and textures into the surface, to carve defined shapes in the glass or make deep cuts through colour. Since I have to hire glassblowing facilities, it’s also a way that I can be creative and get hands-on in my studio more regularly. It’s a great tool to transform any bit of glass into something special.
Do you have a favourite piece you have made? Why is it your favourite?
I don’t know if I have one favourite piece, but the one that’s the most personal and successfully achieved what I was aiming for is the piece ‘Coping Mechanism: to numb grief’. It is based on an old anaesthesia inhaler, which has vessels to contain a sponge soaked in ether, connected to a mouthpiece with a rubber tube. My piece reimagines this as a device to recover from grief. The vessel contains a single guinea fowl feather, which I picked up at my brother’s funeral, but it also responds to other losses I have experienced. I am happy with the balance of colour and form, which combines fairly simple shapes to create an arresting object that perfectly frames the feather inside. It means a great deal to me that this piece is now a part of Aberdeen Art Gallery’s permanent collection.
‘Coping Mechanism: to numb grief’ by Vicky Higginson. Photo: Shannon Tufts.
Where do you show and sell your work?
I sell my studio work at craft fairs and through galleries like the Craft Centre and Design Gallery in Leeds and the Biscuit Factory in Newcastle, as well as via some online stockists. I’ve exhibited quite a bit in the UK and overseas in Japan, the Czech Republic, Ireland and the US. Some great exhibitions I’ve been a part of include the British Glass Biennale, Collect and the Jerwood Art Fund Makers Open. I need to get my work into more galleries and I’d love to show more in London.
What advice would you give to someone starting out on a career in glass?
You need to have persistence and resilience to keep going with a career in glass. As with any career in art, it’s not easy and you’ll get a lot of rejections. Some people make it big early on but even in those cases there’s a lot of work involved in the background. Keep applying for things and getting your work out there and seen by people. Even if you don’t get accepted, you’d be surprised how many people will remember having seen your work. I’ve applied over and over for some things and it’s taken years to get some opportunities, like going to Pilchuck Glass School.
Remind yourself why you love working with glass and do work that makes you happy. You won’t please everyone, but, if you love what you do, that will show in your work.
Do you have a career highlight?
The whole experience of my Jerwood Art Fund Makers Open commission has been the highlight of my career. I was surprised to be selected as one of the recipients, having applied a few times previously. I had an uncertain start as COVID-19 meant I couldn’t hire any studios initially. However, that turned out to be a massive benefit to my project, because I really got stuck in to researching and developing the work and building up a whole narrative element around the pieces. The work was exhibited in London, Newlyn and Aberdeen, and I was able to try out new ideas with each installation. I was so well looked after by the Jerwood team. I held an in-conversation event with the curator of Medicine from the Science Museum in London and I was also invited to give a ‘Guest at Grays’ talk in Aberdeen with our fantastic curator. I received some lovely feedback from visitors and was touched when people felt such deep connections with the work; it was the best response I could have asked for and unexpected since it was deeply personal. To top it all, three of the pieces were acquired for Aberdeen Art Gallery’s permanent collection.
‘Coping Mechanism for things left unsaid’ was an installation made for the Jerwood Art Fund Makers Open commission. Photo: Anna Arca.
Where is your glass practice heading next?
I always have so many ideas, but, as with everything, it is reliant on funding and opportunities that come up. I plan to continue experimenting with neon bending and incorporating that into my sculptural work. I want to make more conceptual work and am hoping to develop some installations to show at the National Glass Centre next year. I’m also thinking about a PhD, as I really enjoy making work informed by research.
Mix and match decanters by Vicky Higginson. Photo by the artist.
And finally…
I am increasingly worried about the future of the UK glass scene. Energy prices have pushed many artists and studios to their limits and university courses have been under threat or have already closed in the last few years. Now it also seems there are threats to the British Glass Biennale, the National Glass Centre and North Lands Creative, which are all such valuable tentpole institutions in the UK. I really hope there is a way to ensure there is a future for glass in this country and that we stay a part of the global glass community.
About the artist
Vicky Higginson coldworking a glass artwork on the lathe.
Vicky Higginson is an Edinburgh-based artist working primarily with hand-blown and coldworked glass. She graduated with a MA in Glass from the University of Sunderland in 2011 and has exhibited work nationally and internationally.
Residencies at Edinburgh College of Art and North Lands Creative have been pivotal in the development and evolution of Vicky’s work, allowing her the freedom to experiment and change approach, developing a personal style and themes.
She was awarded the Student Award at the 2012 British Glass Biennale, the Creative Scotland Emerging Artist Bursary in 2015 and she received a scholarship to Corning Museum of Glass in the US in 2018.
In 2022 Vicky worked as a Teaching Assistant at Pilchuck Glass School in the US, and her work was selected for the prestigious New Glass Review.
Vicky will also be one of the five speakers at the next CGS Discovery Day, taking place on Friday 8 September 2023 in Edinburgh. Find out more and book your place via this link.
Main feature image: ‘Artefact V: Aim Low’ by Vicky Higginson. Photo by the artist.
Glass expert Max Jacquard is offering two classes in glass casting this Autumn, both of which are suitable for beginners. Max has been teaching students how to cast glass for over 20 years. He has taught in England, Europe, Australia and New Zealand.
The first class is a one-day Open Cast Texture and Colour course, taking place at his Kent studio on 16 September 2023.
Students will learn how to apply texture and colour to an open casting in glass. Open casting refers to the technique in which a mould is placed into the kiln without a feed, allowing the entire glass surface to be polished by the heat.
This open cast technique begins with mould making using materials such as plaster and silicone. This course will teach mould making methods and investigate the materials that can be applied to relief casting. Students will be able to explore how colours can be combined when casting glass with billets.
The following month, on 14 October 2023, there will be a one-day Core Casting Workshop. On this course students will try their hand at core casting glass in the form of a vessel. Core casting refers to the process used in making a hollow form (such as a bowl or vessel) that is created through casting rather than blowing.
This course will teach the basics of core casting, including a range of mould making skills. Wax will be extensively explored in both its liquid and malleable form. The process of lost wax casting will be taught, and students will measure and choose the glass for their vessel.
Both courses take place at Max Jacquard Glass, Greensand Barn, Church Farm, Ulcombe, Maidstone, Kent ME17 1DN.
More information on both courses and book via the website.
Image: Glass bowl created using the core casting process that you can learn in October 2023.
Stained glass conservation pioneer Professor Sarah Brown has received the 2023 Plowden Medal for Conservation, recognising her significant contribution to the stained glass conservation sector.
Prof Brown, who is course director of the MA in Stained Glass Conservation and Heritage Management at the University of York and the Director of the York Glaziers Trust (YGT), is a household name in the stained glass industry.
Prof Brown said she was ‘knocked for six’ when she found out she had been awarded the prestigious Medal, which honours the life and achievements of the late Hon. Anna Plowden CBE, who was a leading conservator.
Prof Sarah Brown
“Anna Plowden made such a big difference to the conservation community that to be awarded this medal in her memory is very moving,” she commented. “It was very humbling to be told I had been chosen. I am not often speechless but momentarily I was!
“It’s a tremendous affirmation, especially because I never feel like I am working, and I love what I do so much. I am grateful to my colleagues and peers for making a nomination on my behalf.”
Inspired by her father, who had begun his career as a joinery apprentice and loved using tools throughout his life, Prof Brown has been a tireless champion of the stained glass community since the 1980s, playing a key role in introducing academic training for stained glass conservators.
“While doing my Masters at the University of York, I became aware of threats to stained glass, but I was equally aware of the fact there were very few people who could care for this heritage,” she explained. “So, we worked hard to establish a national accreditation scheme for stained glass conservators, which subsequently became part of ICON’s national scheme. After a period of development, the University of York launched the Masters Course in Stained Glass Conservation and Heritage Management in 2008.”
Having previously served as a trustee, Prof Brown also became director of the YGT in 2008, overseeing the conservation of the Great East Window of York Minster of 1405-8, which is the largest expanse of medieval stained glass in Britain. In bringing together a multi-disciplinary and international advisory team, this project created a new benchmark in stained glass conservation practice in the UK.
While her achievements and impact on the discipline are immense, Prof Brown is most proud of how she has helped to pave a pathway for a new generation of conservators.
“I think I can safely say that we have created opportunities for young practitioners that simply were not there 15 to 20 years ago,” she said. “Many of my former students are now accredited conservators in their own right, leading studios and major projects in UK and further afield. Stained glass conservation is not a big business; it’s a very niche area and was at risk of disappearing, but I am proud to have played a role in averting that.”
Established in 1999 to commemorate the life and work of the late Hon. Anna Plowden CBE (1938 – 1997), the Plowden Medal was endowed by the Royal Warrant Holders Association, of which she was vice president. It is awarded annually to an individual who has made a significant contribution to the advancement of the conservation profession. The award covers all aspects of conservation, be they practical, theoretical or managerial, and is open to those working in private practice or institutions.
The ceramics, glass and jewellery departments at the University for the Creative Arts (UCA), in Farnham, Surrey, deliver an Artist in Residence (AiR) programme each year and glass artists are invited to apply to be the Glass AiR for the academic year 2023/24.
The residency position offers the time, space and facilities for you to develop your glass making practice or realise a specific project. The successful applicant will be given access to UCA’s specialist ceramics and glass facilities in the workshops for the duration of the residency, for which there would be no charge. In exchange, the AiR would be expected to support curriculum delivery on the university’s undergraduate and postgraduate courses. This may include, but is not limited to, technical workshops, masterclasses, tutorials and professional skills. They would also contribute to the wider craft community at UCA by engaging with students, sharing knowledge and skills, plus supporting staff teams where necessary.
The position should be viewed as an opportunity for you to develop your own work and technical skills in a creative environment, without the constraints of set course work or timetable. It also allows you to positively extend your CV. This opportunity is open to early and mid-career artists alike, and you would be expected to hold degree-level qualifications or have relevant professional experience within glass making.
The AiR programme runs from mid-September 2023 to the end of August 2024, but the department could accommodate two shorter residencies within this timeframe. The length and start dates of residencies can be negotiated based on availability. Please indicate your preference in your application.
Workshop access at UCA is between 9.30am-5:00pm, Monday to Friday, with occasional Saturday access at university open days.
The AiR would normally be expected to attend for a minimum of three days per week, for the full duration of the residency programme. The residency will normally terminate at the end of session, unless by special arrangement with the Programme Director.
Facilities
UCA has some of the most extensive glass making facilities of any UK university, accommodating glass blowing, lamp working, coldworking, mould-making and kiln glass processes. The workshops are supported by three specialist technical tutors in the areas of hot and cold glass, plaster and kiln glass, plus ceramics.
Deadline for applications is 18 August 2023 and artists will be notified by 25 August 2023.
More information and details of how to apply via this link.
UCA Farnham is at: Falkner Road, Farnham, Surrey, GU9 7DS, UK.
The US Toledo Museum of Art (TMA) has named Alli Hoag as the 55th Guest Artist Pavilion Project (GAPP) Artist in Residence from 23 August to 1 September 2023.
Alli Hoag was the 2015 Glass Art Society Emerging Artist and is currently the Bowling Green State University head of glass programme and assistant professor.
During the residency, Alli will create new work and share her process. There will also be a free artist’s lecture on 25 August at 7pm, plus free public demonstrations.
The GAPP brings in glass and contemporary artists who are willing to explore the use of glass in their work to be inspired, without restriction, by the TMA collection, studio facilities and staff. The programme aligns with the Museum’s educational aim to promote dialogue in contemporary glass and contemporary art communities. A committee of TMA staff members selects the GAPP Artist in Residence.
Alli uses glass, installation, video, performance and digital technology to explore ideas of magic as humans’ desire to understand the natural world. “I see magic as the desire to connect with the world outside of our perceptual and cognitive abilities,” she states. “In my work, I attempt to create moments where one can believe that distance is overcome. I investigate this uniquely human desire to reveal the simultaneous lightness and heaviness that is created when the imagined or invisible is laboured into the physical realm.”
Alli compares her artistic practice to taxidermy. She dissects and reconstructs found objects to recreate real and imagined narratives that audiences can share. She also works across sound, sculpture and performance with Icelandic performance artist and pianist Tinna Thorsteinsdóttir in a collaborative known as Bylta.
She holds a Bachelor of Fine Arts in glass from the University of Hawai’i at Mānoa and graduated from the New York State College of Ceramics at Alfred University.
The TMA is open Wednesdays, Thursdays and Sundays (11am-5pm) and Fridays and Saturdays (11am-8pm) (free entry).
It is located at: 2445 Monroe St. at Scottwood Avenue, Toledo, Ohio 43620, US. For more information, visit: toledomuseum.org
Image: Alli Hoag’s ‘Trace Decay #1’ (2019) uses lost wax cast glass, antique taxidermy fawn, mixed media. Photo: Tom Brooks
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