If you’d like to follow in the footsteps of the UK’s Elliot Walker – who won Season 2 of the Netflix glassblowing competition Blown Away – read on. The series is filmed in Canada, but travel and accommodation are covered. Please note the deadline for applications is 23 February so not much time to get your application in.
The production company marblemedia is casting glassblowers from around the world for Season 4 of Blown Away – the acclaimed Netflix series where glass artists race against the clock to compete for a grand prize and be named the new Blown Away Champion.
Travel and accommodation costs are covered, honorariums will be provided, and there is a significant prize package for the winner.
Applicants must:
be able to travel to Canada any time between April – June 2023
have a valid passport not expiring in the next six months
be 19 years of age or older
be proficient in speaking and comprehending English
be willing to undergo a background check
be passionate about art and have a competitive spirit!
Previous applicants are encouraged to reapply.
The application must be completed all in one go as you will not be able to revisit it once you’ve started entering your information.
PHOTOS AND VIDEOS ARE MANDATORY. If you encounter an error adding your media to the application, please email your videos and photos to jtavares@marblemedia.com once you’ve submitted your application.
Applications will close at 11:59pm PST on Thursday, February 23, 2023.
Swiss artist Simon Berger has a solo show at the Museo del Vetro of Murano, Italy featuring artworks that explore the fragility of the human condition. Around 20 original pieces make up the ‘Shattering Beauty’ exhibition, which is on now until 7 May 2023.
The exhibition, curated by Sandrine Welte and Chiara Squarcina in collaboration with the Fondazione Musei Civici di Venezia and Berengo Studio, is conceived as an immersive installation where visitors are invited to lose themselves among glass cubes and sculptures of varying dimensions.
The installation also features several glass portraits, created using the technique the artist calls ‘morphogenesis’, which has made Berger an international name.
In his hyper realistic portraits Berger recreates the lines of the human face by breaking the glass using tools such as a hammer to etch and draw haunting human faces. Reinforced safety glass, which has a crucial layer of plastic as its core, ensures that the material, though broken, stays in place. This highly controlled sculptural technique originates from the artist’s classical training in carpentry and demonstrates how many artists are translating techniques from other mediums into the world of glass.
Berger’s unique technique of deliberate ‘shattering’ contradicts years of teaching, whereby broken glass has been seen as wasted or ruined. On the contrary, he instead turns the material’s so-called weakness into its most vital asset. Its ability to break becomes reframed as its ability to change, to be altered, and to be recast as something new. To watch the artist create these works is to witness a vivid ‘performance’. The shattering of the material is not an end point for Berger, but just the beginning.
‘Shattering Beauty’ is on at the Glass Museum, Fondamenta Giustinian 8, 30121 Murano, Italy. More information via this link.
Image: Cubes featuring faces made up of cracked glass feature in the exhibition.
The Contemporary Glass Society (CGS) is extending its reach across the country in 2023 with new events and exhibitions. The first of these initiatives is the opportunity for CGS members to exhibit at the Buckenham Galleries in Southwold, Suffolk.
Situated in the heart of the seaside town of Southwold, the Buckenham Galleries is an independent fine art gallery and one of East Anglia’s leading contemporary art spaces. CGS is excited to be working with the gallery for the first time to present its ‘Sumptuous Summer’ exhibition, from 1 June to 15 July 2023.
The exhibition, which is open to all CGS members, will celebrate the warmth and sensuous pleasure of a Sumptuous Summer. The brief offers artists the opportunity to explore anything that relates to that glorious season, which extends from the June solstice through to the September equinox.
Exhibiting a wide range of contemporary glass art, the show will feature a mix of wall pieces as well as plinth-based work. All the work will be for sale at a wide range of prices, so there will be something for everyone.
From the applicants, 15 artists will be chosen to take part in the show. Up to three pieces can be submitted per artist. The selection panel includes the gallery owners and internationally renowned glass artist, David Reekie, whose studio is in nearby Norfolk.
There will be a preview afternoon on Saturday 3 June at 2pm, enabling visitors to see the array of glorious glass, meet the artists and find out more about their work and techniques.
The application deadline is Sunday 12 March 2023 at 5pm.
For more information and application, click here. There is a £25 administration fee to apply.
The Buckenham Galleries is at: Buckenham House, 81 High Street, Southwold, Suffolk IP18 6DS, UK. Website: https://buckenhamgalleries.co.uk
Image: The Buckenham Galleries that will host the ‘Sumptuous Summer’ exhibition.
Glasstorm hot glass studio in the Scottish Highlands is one of four recipients of an Artisan Apprenticeship Fund from master whisky producer The Macallan.
The funding will enable the Tain-based glassworks to recruit and train a new, full-time apprentice in their luxury glass business.
Under the guidance of Glasstorm Director, Brodie Nairn, and studio hot shop manager, Ronnie Nelson, the apprentice will be trained in all elements of bespoke glass work, from maintenance and use of key equipment to hand-eye coordination, mould production, glass refinement and artistry.
After completing the two-year apprenticeship, the trainee will gain the practical skills, experience and confidence required to work as a glass blowing assistant, paving the way to a career as an early entry glassblower. The apprentice could also work towards a formal qualification, with guidance and support from Skills Development Scotland.
Glasstorm, which was established in 2005, has been allocated a £50,000 portion of £260,000 funding from The Macallan Artisan Apprenticeship Fund.
Brodie Nairn commented, “Based in the Highlands of Scotland, we find it impossible to bring glassblowers with experience into our business. To be able to give the time and energy to an apprentice programme where a local person can be brought on to learn the age-old craft of hot glassblowing is so exciting, and we now have the studio infrastructure to support and train internally.
“Glassblowing is a craft that requires patience, good teaching, and support from the beginning. It takes many years to get even the basics done well. Studios like ours would traditionally employ from specialist training centres and have an assistant stay for a year before they move on to gain experience elsewhere and travel. The failings of this are that no-one embeds themselves into the community or stays longer, making a big gap in the skill sets available to the studio and limiting investment in time for individuals that ultimately move on within a year. With the creation of our apprenticeship position, we’re proud to see a small step towards what we hope will be wider progress.”
The Artisan Apprenticeship Fund is delivered through The Macallan Artisan Collective, a creative forum for likeminded master makers to network, exchange ideas, innovate and collaborate via live gatherings and digital events. Established in 2021, it champions and celebrates the artisans, their philosophies, knowledge and skills, as well as the critical role they play in local and global economies.
In the same year, The Macallan created the Artisan Apprenticeship Fund in recognition of the need to preserve and safeguard legacy crafts, trades, skills, and values to support employment for generations to come.
Proceeds for the fund have been generated primarily through the auction of The Reach 81 Years Old single malt, the oldest whisky ever released in the history of The Macallan.
A one-of-a-kind special edition of this release, crafted from a single, sherry-seasoned oak cask, was sold at Sotheby’s London in October 2022. The auction lot featured an exclusive bottle of The Macallan The Reach, encased in a display cabinet lined in red leather.
Elizabeth McMillan, Head of Insight & Sustainability at The Macallan, stated: “At The Macallan, we thrive as a local brand with a global presence because of the remarkable communities and networks with whom we enjoy strong interdependent relationships built on shared value creation. Glasstorm shares our dedication to craftsmanship and quality, and we are proud to play a part in helping to train and guide the next generation of artisans within this established business.”
For further information about The Macallan Artisan Collective and The Macallan Artisan Apprenticeship Fund, visit The Macallan Positive Society and Community Initiatives.
Further information about Glasstorm is available via the website.
Image: The creation of a glass decanter at Glasstorm. Photo: Christina Kernohan.
Australian glass artist Emma Borland has an interest in naïve and outsider art, with a lot of her work focused on representing the marginalised. Linda Banks finds out more.
What led you to start working with glass?
I began working with glass in a lead lighting studio in Melbourne when I first left school. At the studio we recycled the original English Muffle glass and restored old stained glass windows. This experience really inspired my ongoing love and deep appreciation of glass as a unique material.
What glass techniques have you used, and which do you prefer?
I have used most glass techniques at some time or another. After my initial experience with stained glass, I travelled to England and spent a short time assisting Peter Hewlett with his Bristol blue glass. Following his recommendation, I attended Dudley College in Brierley Hill. There, I was introduced to glass blowing, glass casting, coldworking, fusing and slumping, design, and history. Then, during my master’s degree at Monash University in Melbourne, I investigated casting sculptures with industrial glass. Currently, I am particularly enthusiastic about the simplicity of fusing glass, combining rich, sumptuous colours and applying my glass cutting skills from the early leadlight days to fuse glass wall panels.
‘Colour Bank 3’ demonstrates Emma’s passion for simple shapes and colours. Photo: Mark Ammermann.
What is your creative approach? Do you draw your ideas out or dive straight in with the materials?
Often, I will sketch out my designs and draw ideas into my studio diary. I also love developing ideas using collage. For my current exhibition I spent time at the photocopier enlarging forms and reducing their scale to make sure the final composition was balanced. I also spend a lot of my time experimenting with different shapes and selecting the colours that really work well together.
Body parts in the kiln pre-firing. Photo: Emma Borland.The fired body parts assembled as ‘Tutelar 5’. “These figures act as protectors or guardians of the place and space in which they preside,” explains Emma. Photo: Peter Robinson.
What inspires your work?
I find my inspiration in fine art, architecture, furniture, and fashion. I also find inspiration in Scandinavian design and the mid-century modern aesthetic revival.
I really enjoy the challenge of working out how I can realise my ideas in glass and make the best work that I can. I find it inspiring because it is not always easy.
Most importantly my inspiration is my family.
‘Juggler’ shows Emma’s love of figurative art. Photo: Mark Ammermann.
What message(s) do you want to convey through your art?
Through my work with glass, I am always considering the affective qualities of each shape, form and colour and their interrelationship. I contemplate the tension that appears in the spaces between the lines. Within this process I aim to convey a sense of peace and balance while developing a narrative that is expressed through the form. I aim to compose works that explore themes close to my current experiences. Underpinning all of this is the sense that I want to create art that will last. I have always believed that glass, clay, metal, timber, and stone hold the the same status as paint within fine art.
‘Mead’ is made from cast crystal. Photo: Andrew Barcham.
What is your favourite tool or piece of equipment and why?
I would not be able to go without my glass cutter, set squares or grozing pliers. These are my favourite and most often used tools. I use these all the time to cut out the forms and shapes from the sheets of glass. I guess I feel most confident with these because of my early days lead lighting, where I was required to used them all day to cut small, detailed pieces of glass.
There are also the grinders and small test kiln that I love and use frequently.
‘Mother and Son’ is made from cast crystal. Photo: Andrew Barcham.
Do you have a favourite piece you have made? Why is it your favourite?
One of my favourite pieces is the Triptych (see image). It is one that I still love because of the figures and how they relate to each other in the three panels. For me, this piece summarises the importance of community and the strong need to accept each other unconditionally, regardless of race, belief or religion. The central figure is unsure, insecure and alone. The other figures in the piece appear to be gossiping and judging this lone person. I feel this piece illustrates the strength and vulnerability in people.
‘Triptych’ is one of Emma’s favourite pieces. Photo: Mark Ammermann.
Where do you show and sell your work?
After many years of exhibiting without representation, I am now in the very fortunate position of exhibiting with Murray White Room here in Melbourne. Murray is an extraordinarily experienced gallerist, with an eye for detail. He really understands the cultural significance of the arts and their place in a historical context. For Murray, each piece is a precious object to be respected. Our partnership is based on mutual trust and longevity.
‘Form 14’. Photo: Peter Robinson.
What advice would you give to someone starting out on a career in glass?
Keep going and persevere with your vision. Explore glass techniques and technology. Glassmaking is expensive, so enrol on a good course if you can so that you have access to like-minded people who you can collaborate with. In all the places I studied I met people from all over the world working in glass. The depth of skills and knowledge of these people was amazing for me. Each glassmaker had valuable experiences to share. There was also the added benefit of having access to maintained studio equipment. Look globally, think locally, and share your enthusiasm with others. Keep going no matter what – it’s the most important thing.
Do you have a career highlight?
Every time I get the chance to exhibit and show my work is a highlight. Sharing my love of art and glass with school-aged children is especially rewarding for me and explaining my studio process to my son’s class when he was little was a particularly special moment.
This wall installation features recycled Visibeads (small, industrial, recycled glass spheres that are mixed into the paint used for the lines on the road to make them reflective). Photo: Mark Ammermann.
Where is your glass practice heading next?
I am planning to explore designing panels that incorporate plate glass, waterjet cutting, enamels, and mirroring techniques. I am also developing my sculptural work using glass, marble, metal and concrete.
‘Mica Portrait 9’. In her Mica Portrait series, Emma states that the figures “emphasise nuance and stance in an attempt to create a connection within the world around them”. Photo: Peter Robinson.
Is the global energy crisis affecting your practice?
Yes, most definitely. We have a furnace that we cannot afford to run due to power costs. The price of importing sheet glass from America has increased considerably and I am always looking for ways to incorporate the best materials for the best price. My husband is also a glass maker and assists me with our studio practice. Together we are constantly looking for ways to reduce the costs associated and we regularly fire the kiln when the price of electricity is at its cheapest rate. I am fortunate to work full time as a special needs teacher, which is my other passion, in order to support my family and to continue pursuing my arts practice.
About the artist
Emma Borland is the youngest daughter of celebrated Australian modernist architect, the late Kevin Borland. Her early immersion in art and architecture is evidenced in her abstract ‘Colour Bank’ panels. Furthermore, these abstract works can be traced to her late mother, Margaret Borland’s, interest in Scandinavian jewellery, furniture and design.
The aesthetics of naïve and outsider art, l’Art Brut and Jean Dubuffet, have remained central influences on Borland’s art practice. Alongside her sister, artist/photographer Polly Borland, she shares an interest in psychology, vulnerability and the marginalised, which presents in both artists’ figurative images and subjects. This shared bond was highlighted in the two-person show Borland + Borland curated by Artistic Director Magda Keaney at Canberra Glassworks in 2015.
Borland holds an MA in Fine Art by Research (Glass), and a MA in Teaching, both from Monash University, Melbourne. She also undertook masterclasses under the late Klaus Moje AO at Canberra Glassworks.
She lives and works in outer Melbourne’s Dandenong Ranges.
The US Museum of Glass is showing ‘She Bends: Redefining Neon Legacy’, an exhibition exploring the evolution of neon.
Opening on 11 February and on view until October 2023, ‘She Bends: Redefining Neon Legacy’ explores the evolution of neon teaching methods in this traditionally male-dominated art form, and the transition of the medium from advertising and commercial signage to fine art.
The exhibition is curated by the organisation She Bends, led by co-owners Meryl Pataky and Kelsey Issel. She Bends aims to push the boundaries of neon and is dedicated to building a more equitable future for the art form through public education, curatorial projects, and artist programmes.
“We want to tell neon’s story, and the stories of those who use it in their art,” explained Meryl Pataky. “We want to change the narrative around neon and show that the process is becoming more personal for the artists. The process can be just as interesting as the finished product. It can be magical, and there are so many stories that can be told. And, by supporting and celebrating the artists who are making new and challenging work, we can help continue this story responsibly.”
In addition to the process of neon and the importance of women and gender-expansive artists in the medium’s history, the Museum of Glass says visitors will learn about the intersection between art and science, the commercial history of the material, and its emergence as a more personal art form. Much of the exhibited work is not only a response to neon’s commercial origins, but an exploration of themes of cultural identity, healing, or political activism. Additionally, since neon is a ‘master/apprentice’ craft, the exhibition’s curators are focused on how neon skills are passed on and how the material’s legacy evolves to become younger and more diverse.
Katie Buckingham, Museum of Glass Curator, said, “Neon is an outstanding example of what makes glass art so special – a ubiquitous material that transforms in the hands of artists. I am excited for our visitors to see neon, a pervasive material for signage, through the eyes of the electrifying artists of She Bends.”
Exhibiting artists include Sarah Blood, Carissa Grace, Kacie Lees, Stephanie Sara Lifshutz, Victoria Ahmadizadeh Melendez, Meryl Pataky, Lily Reeves, Daniella Thach and Jude Abu Zaineh.
An opening celebration will be held on 11 February, with Family Day hands-on neon activities, exhibition tours, and demonstrations. An evening RSVP-only reception will follow.
In addition, there will be a series of artist talks alongside the exhibition.
The Museum of Glass is a premier contemporary art museum opened in 2002 and dedicated to glass and glassmaking with the West Coast’s largest and most active museum glass studio.
The Museum of Glass is at: 1801 Dock Street, Tacoma, WA 98402, USA. Hours: 10am-5pm, Wednesday to Sunday. Find out more about this event via the website.
Image: The installation ‘A Modern Guilt’ (2020) comprises neon and mixed media and is a collaboration between Meryl Pataky and textile artist Allie Felton. Image courtesy of artist. Photo: Deb Leal.
‘Sift’ is an exhibition of work by six artists, each of whom created work in response to the ancient connections between Wales and Ireland. It opens in Wales on 24 February 2023, before moving to Ireland on 14 April.
The show includes glass work by Linda Norris, photography and cast glass by John Sunderland, mixed media pieces by Sylvia Cullen, and work by Seán Vicary, David Begley and Tracy Breathnach.
Linda Norris’ piece ‘Fragment Dresser’ (Dresel Ddernynnau in Welsh) centres on the domestic dresser – a familiar, iconic piece of furniture, which has pride of place in many homes in both Wales and Ireland. Her ‘virtual dresser’ is created using glass, light and shadow.
Starting from the simple sense of delight afforded by stumbling upon a jewel-like fragment of porcelain in a muddy field, or on a windswept shore, this work explores the sense of connection that is evoked by these small, broken, and often overlooked, fragments of domestic objects.
As part of the development of this work, Linda ran a series of poetry workshops with poet, Emma Baines, during which people in Pembrokeshire and Ireland were encouraged to write poems inspired by sherds they had found. Handwritten fragments of these poems, in Welsh, Irish and English, along with a poem by Welsh poet Menna Elfyn, can be seen in the shadows cast in the work.
Linda explains, “’Fragment Dresser’ explores what is there, and what that reveals of what is no longer there. In essence, the work imaginatively investigates powerful human connections across time and landscapes. These tiny shards provide a portal into other lives and places and journeying there inspires us to reflect on our own.”
‘Fragment Dresser’ was commissioned by Ancient Connections, an EU-funded, cross-border arts, heritage and sustainable tourism project.
‘Sift’ opens in Wales at Oriel y Parc, St David’s SA62 6NW on 24 February and is on until 29 March at this venue (9.30am-5.00pm daily). It then moves to Wexford Council Offices in Ireland (14 April-20 May).
Find out more about ‘Fragment Dresser’ and watch videos of poetry readings from the sherds poetry workshops via this link.
Image: Detail of ‘Fragment Dresser’, appearing in the ‘Sift’ exhibition.
Two funded work placements are available via awards from the Worshipful Company of Glaziers and Painters. The Lever Award and the Ashton Hill Award are open to recent graduates, promising trainees, or others with an interest in glass who are within five years of completing their initial training or introduction to the craft of stained glass and who want to become a stained glass artist or stained glass conservator. Candidates can apply for both awards.
The Lever Award offers a 30-week work placement in a leading national or international stained glass studio. A total sum of £11,550 is given to the successful candidate, or £385 per week. This is available to assist in meeting the cost of subsistence, travel, and rent during the placement period. In addition, they receive access to an individually tailored training fund of £1,000, to cover the direct costs of training courses or obtaining tools.
The Ashton Hill Award provides 15 weeks of fully funded work experience in a leading national or international stained glass studio. A total sum of £5,775 is given to the successful candidate, or £385 per week towards the cost of subsistence, travel, and rent during the placement. They also receive a tailored training fund of £750 to cover the direct costs of training courses or obtaining tools.
Examples of what both training funds can be spent on include conferences, specialist memberships, obtaining qualifications, or enrolling on short courses. The aim of these funds is to give the candidates access to resources that enhance their skills and CV. A ‘Training Menu’ will be provided to each successful candidate to help spark their ideas.
On completion of each award programme, the two candidates will be offered membership to the livery company and will be invited to become a Freeman. This is an exceptional and prestigious honour, designed to forge a long-lasting link between each Award holder and the Worshipful Company of Glaziers.
At the end of the award, each of the award winners will be expected to provide an illustrated portfolio and up-to-date CV for circulation within the Glaziers Company, and for their own records, to help them obtain work in the industry.
Candidates must submit a CV and portfolio, along with a confidential report on their work from their course tutor or glass practitioner who knows them.
The deadline for entries to be submitted is noon on 27 March 2023.
Shortlisted candidates will be invited to attend an online interview with a panel and show a PowerPoint presentation of work.
Applications for places at the Great Northern Contemporary Craft Fair (GNCCF), and two complementary online selling events, are open between 1 and 28 February 2023.
The GNCCF is now in its 16th year and takes place at the iconic Victoria Baths in Manchester from 19-22 October 2023. It is complemented by two digital events – GNCCFonline – in May and December.
The organisers are looking for talented makers – including new and established makers, as well as recent graduates – working in glass, ceramics, jewellery, metal, leather, wood, interior textiles, fashion design and accessories, mixed media, basketmaking, product design, furniture, printmaking and more.
The Victoria Baths event opens with a Private View on the evening of 19 October and is then open to the public from 20 to 22 October. Victoria Baths is located at Hathersage Road, Manchester M13 0FE.
The GNCCFonline digital fairs are also selected selling events, which, the organisers say, “offer an affordable and accessible way to present and market your work under the respected GNCCF brand”. The GNCCFonline Spring Edition takes place from 20-21 May 2023 and the GNCCFonline Christmas Edition takes place on 2-3 December 2023.
Applications are invited from diverse and skilled makers from the UK and abroad, whatever their background or professional qualifications, and applicants from groups that are currently under-represented in the craft sector are particularly encouraged.
In 2023, there will be two free stands available at GNCCF Manchester to makers who have not exhibited at the show before and whose contact address is located in one of Arts Council England’s Levelling Up For Culture Places. Check whether your area is included on the list via this link. Any successful first-time applicant to GNCCF Manchester with an address in one of these areas will be contacted after selection with information about this opportunity.
Interested makers can apply by completing the online application form available on the Great Northern Events website (portal open 1-28 February 2023).
All exhibitors are selected for their excellence by a panel of craft experts, based on their submitted images. Successful applicants will benefit from extensive marketing and promotion and a range of affordable stand packages, including subsidised stands and tabletop/display only options for new and graduate makers. In the event the live event cannot go ahead because of COVID-19 restrictions, full refunds will be given.
GNCCF organiser Great Northern Events is a not-for-profit organisation supported by Arts Council England with public funding from the National Lottery.
Image: The2022 Great Northern Contemporary Craft Fair at the Victoria Baths, Manchester, UK. Photo: Joel Fildes.
Are you a glass artist working outside the UK? If so, the Contemporary Glass Society (CGS) would like to hear from you. We are hosting an online exhibition in March 2023 on the CGS website featuring glass art from overseas. You don’t even need to be a member to participate.
The CGS is the UK’s foremost organisation supporting both established glass artists and up-and-coming makers. Our mission and passion are to promote contemporary glass among the art world and wider public. For us, 2023 is about expanding horizons – looking beyond our natural boundaries and out into the world.
So this is an open call to all non-UK based glass artists to share your work with us for our ‘Expanding Boundaries’ exhibition. We want to learn and understand what glass art is out there, outside our borders. Join us in an online exhibition exploring and discovering the diversity of the glass world and celebrating our worldwide glass community.
To apply for ‘Expanding Boundaries’ send one image (size not more than 1000 pixels in any direction), labelled with your name and title of work, to cgsweb@hotmail.co.uk and admin@cgs.org.uk . Also write a short description, include any photographer to credit, add the size of the piece and your contact details. All submissions must have been made after 2018.
The deadline to submit your application for consideration is 24 February and the successful entries included in the exhibition will go live on 1 March 2023.
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