Students and young graduates from the Institute for Ceramic and Glass Art (IKKG) at Koblenz University of Applied Sciences are showing their work in an exhibition at Germany’s European Museum of Modern Glass.
The ‘Double Feature II’ show (19 January to 16 April 2023) is the second of two events featuring a broad spectrum of contemporary trends in art while documenting the versatility of glass as a material and the broad choice of training courses available at IKKG.
The IKKG is believed to be one of the few internationally high-ranking fine art schools to offer talented young people comprehensive artistic training with a focus on contemporary glass sculpture.
The facets of this artistic material are diverse and have yet to be fully explored. Glass holds opportunities for widely differing means of artistic expression and students can develop their skills with the medium through the Free Art Glass course, which has been taught at Höhr-Grenzhausen for 22 years.
IKKG students and graduates often show their work at international exhibitions and win globally-recognised awards.
The European Museum of Modern Glass is at Rosenau 10, 96472 Rödental, Germany. Visit the website for more information.
Image: One of the glass pieces created on the Free Art Glass course.
Films selected for this year’s Glass, Meet the Future (GMTF) Film Festival are online to view now.
GMTF is hosted by North Lands Creative in Scotland and is dedicated to presenting a selection of new films pivoting around the medium of glass. The festival showcases a cross-section of international diverse and engaging short films curated and directed by female identified and non-binary filmmakers with glass as the predominant feature.
North Lands Creative states, “GMTF is a microcosm to explore the human relationship with glass and film, exploring dynamics with the physical and environmental context, together with the human and social context.”
It is “the amalgamation of material and ephemeral, glass and video” and dedicated to “exploring the stories of how art is made, how artists survive, how they think and work, and what makes creativity our most important skill”.
The 2023 line-up includes: Adele Fournet and Kazue Taguchi; Catriona Archibald; Jessalyn Mailoa; Kaitlin Santoro; Kayla Cantu; Lise Eggers; Madeline Rile Smith; Meadhbh McIlgorm, Jenny Keogh and Glass Society of Ireland; Rachael Harris; Alina Orlov; Beiwen Zhuang; Cassandra Jasulevicz; Chenyue Yang; Dafna Kaffeman; Erin Hoffman; Eve Boontje; Fionn Duffy; Hannah Gibson; Helen Lee; Inguna Audere; Ivana Rashlich; Jeanne-Sophie Aas; Jiemin Park; Julia Keenan; Lauren Aria; Louise Lang; Mad Conway; Maria Pechstein; Rinoi Imada and Milsbridgewater and Michaela Tkadleček; Simone Fezer; Sukhy Parhar; Vanessa Hafenbraedl; Vendulka Prchalová; Ying Chiun, and Zou Desbiens.
In addition, North Lands Creative has announced the commission of five new art works, exploring new ways of engaging with the materiality of glass in the digital era, as part of the GMTF Film Festival 2023.
The five artists awarded are: Chengyu Li, Estabrak / إستبرق , Rachael Harris, Riikka Haapasaari and Ying Chiun.
Unique in approach, the projects have been selected for their resonance with core human emotions and their relationship with material and expression.
The GMTF Film Festival at North Lands Creative is supported by Creative Scotland and presented in collaboration with Shanghai Museum of Glass.
Sydney’s Sabbia Gallery is hosting ‘Still Alive + Mobile’, a solo exhibition of works by Australian glass master Nick Mount, from 25 January to 18 February 2023.
‘Still Alive + Mobile’ comprises a series of new works that are, his daughter Peta Mount states, “at once energetic and expressive, and intimate and illusive; playful and provocative, and soft and seductive.
“In the long-standing tradition of the Still Life, Nick presents a slice of the everyday. Providing endless opportunity to experiment with the arrangement of elements within a composition, the work tells a story of form and finish, texture and tone, technique and intuition. Functional objects and geometric forms are positioned alongside fruits, both real and imagined. A symbolic reminder of our changing environment, the work is also a reminder that the old can be new again.”
Nick was among the first generation of artists to be introduced to glass in Australia in the early 1970s. He and his partner, Pauline, went on to establish Victoria’s first private hot glass studio and subsequently developed an internationally-renowned arts practice.
Over the years, Nick has participated in countless exhibitions and his work has been acquired by more than 20 public collections internationally, including the National Gallery of Australia, the Corning Museum of Glass and the Palm Springs Art Museum in the US, plus the Toyama Glass Art Museum in Japan.
Working across the fine arts, craft and design, Nick has also worked with an extensive list of clients in the design and production of bespoke commissions, including Rockford Wines, the Park Hyatt in Sydney, and SkyCity Casino in Adelaide. His award-winning Martini Set is in the collection of the Art Gallery of South Australia and more recently he designed and fabricated the limited edition Penfolds Ampoule.
Sabbia Gallery is at 609 Elizabeth Street, Redfern, Sydney, NSW, 2016, Australia. It is open Tuesday-Friday 11am to 6pm, and Saturday 11am to 4pm.
Image: Nick Mount’s ‘Ficifolia: A Still Life #080722’ (2022) is made from blown glass, surface worked, assembled, with huon stems on a charred oak base.
Between 28 January and 2 April 2023 visitors to Norway’s S12 Gallery can see Linda Morell’s mixed media exhibition ‘Oil nebula’.
This installation uses the concept of the abyss – the vast, cosmic sea as described in John Milton’s Paradise Lost (1667), which separates earth from hell – as a metaphor for societal collapse.
The project draws parallels to the jellification of the oceans, where ecosystems are changing and new organisms thrive.
The exhibition, consisting of works in ceramic, glass, wood and aluminium, strives to mythologise the defamiliarised Earth. S12 states, “The works form a visual language which speaks about the future of the oceans and humanity, whilst forming the inhospitable sea of the abyss itself. Like Milton’s abyss, simultaneously described as the world’s cradle and its grave, the exhibition becomes an ouroboros focusing on both the perils and prospects of the future.”
Linda Morell’s sculptures and installations form speculative futures based on myths, science and medicine. She is known for her minimalistic and sterile expression, where the human body is a recurring theme. In ‘Oil nebula’, Morell has moved towards a new and warmer expression, with more figurative and realistic elements.
Several of the works in ‘Oil nebula’ have been created at the S12 Gallery over the last few years.
Linda Morell holds an MA in contemporary art from The Art Academy in Bergen and a BA in contemporary art from Konsthögskolan i Umeå. In 2020 she was awarded the emerging artist award from Norske Kunsthåndverkere. Her work has been acquired by KODE art museum, Sogn and Fjordane art museum.
S12 Gallery is at Bontelabo 2, 5035 Bergen, Norway.
Alison Vincent, an artist in hot glass from South Buckinghamshire, was one of four glass artists featured in the new BBC tv series ‘Make it at Market’, hosted by Dom Chinea.
The programme helps aspiring artists and crafters, including glassblowers, blacksmiths, potters and woodworkers, as they team up with an expert mentor who provides guidance on how to make a successful business from their craft. Dom works alongside the business and craft experts to help the entrepreneurs on their journey.
Alison says, “The filming process and challenges were intense, coinciding with an extremely busy time of 14 concurrent exhibitions including a premium craft market, showing at three locations during Buckinghamshire’s biggest craft maker event, and new gallery openings. During this period, I also visited the GAS Tacoma 2023 global glass conference in the USA.”
Alison’s ‘Waves’ piece was critiqued on the show. Photo: Alison Vincent.
“It was such a fantastic experience and I’m so lucky to have been a part of it. The ability to get specific advice from my mentor, Allister Malcolm, a top professional glass artist, was priceless. The other crafters are all very talented and supportive and Dom and the production team were so helpful and approachable.
“I was very excited to see my episode, but also quite nervous as I had no idea how it would be edited and couldn’t see it until it was on air!”
Alison is a self-taught, relative newcomer to glass. After an experience day in 2012 she was instantly hooked, but had only 100 blowing days under her belt. She’s often told that “it takes glass blowers seven years of daily practice to be considered a master!”
A passion for glassblowing
Alison explains, “My passion for hot glass and glassblowing first came from seeing a hot glass studio in action with the furnace, hot glass, adrenaline and ‘danger’! I knew I had to have a go and when I did, I was instantly addicted!
“I love making beautiful art with hot glass, although it can be difficult and frustrating at times.
“I also have a passion for wild, remote places, such as Antarctica and the Arctic, where I am lucky to have sailed and dived on several occasions.
“I blend my two passions in my glass art, where I recreate my experiences in these remote wildernesses and I hope to raise awareness of their fragile existence, so others care for them as well.”
The ‘Svalbard Icy Mountains’ were created following feedback from mentor Allister Malcolm. Photo: Andy Smith.
Talent scouts for the show initially saw Alison on social media and contacted her about taking part. She had to go through a multiple-step application process. “Then it all went quiet, and I assumed I had been unlucky,” Alison states. However, three months later she was contacted to say that the show was on, and she was in it. She had just three weeks from then until the start of filming.
“I was asked to make and bring specific pieces for the first filming. I didn’t believe it when I got the call because so much time had passed. I was over the moon, but also rather nervous!”
The experience
“The whole experience of being on ‘Make it at Market’ was fantastic. It was very intense and quite stressful for me at the time, mainly because I didn’t have my own studio available and I could only hire a studio – which was four hours’ drive from home – for four days during the whole eight weeks of filming the challenges. Plus I hadn’t blown glass for seven months beforehand, so I felt very out of practice and straight into making on film! It was also happening at a very busy time for me.
“But at the same time, it was very enjoyable. I can definitely see progress from where I started. The ability to gain targeted advice from my mentor, Allister Malcolm, was priceless and I received not just one, but two, fabulous business boosts, which was amazing!
“Dom was lovely, and the whole production team was so helpful and approachable. The other makers and artists are so talented and very supportive, and I think I’ve made some friends for life.
“I feel very grateful and privileged to be part of this programme and this amazing journey.”
What doors have been opened by the show?
“It’s very early days – I’m writing this just a week after my episode was aired – but already the response has been tremendous!
“I am exhibiting in Pyramid Gallery York and Artifex Gallery, Sutton Coldfield as a result of the business boosts, and I also secured listings in two other galleries. Since the TV show, other galleries have approached me too.
“I also had the opportunity to exhibit at Olympia, London, and to have a photo shoot in the offices of a large corporate, as well as to create a short-run book in the future about my expeditions and glass blowing.
“The exposure has been amazing and I am grateful for everything!”
The series was filmed in the grounds of Stoneywell, Leicestershire, an Arts and Crafts home designed by Ernest Gimson, now owned by the National Trust.
Alison is now busy setting up a glass studio in South Buckinghamshire, which should be operational in early 2023. Before turning to glass, Alison owned and ran a consumer packaging design, development and project management consultancy for almost 20 years.
All four glassblowers from the series will be at Stourbridge Glass Museum, where Allister Malcolm Glass is based, for an event on 4 February 2023. It will start with a meet and greet, then an unveiling of Belinda King’s work which is being given a place in the permanent collection at the Museum. After that there will be demonstrations by each glass maker.
For anyone wanting to go along, the event is included with the usual Stourbridge Glass Museum entry fee. The meet-and-greet is at 10.30am. At 12pm is the unveiling of the work by Belinda King, and between 1pm and 4pm will be the glassblowing demonstrations.
Find out more about Stourbridge Glass Museum here.
Reserve you space to meet the artists via this link.
Main image: Alison creating her glass on location at Stoneywell, with Allister Malcolm (centre) looking on. Photo: KT Yun.
Norway’s S12 Gallery is inviting artists who have graduated within the last five years to apply for the ‘Young & Loving!’ exhibition.
The show has been held annually since the gallery opened in 2007, up to 2019, but had to be suspended in the last few years because of the COVID-19 pandemic.
Relaunching in 2023, the exhibition will present the work of artists who have graduated in the last five years, of any age, from all over the world.
‘Young & Loving!’ is a tongue-in-cheek translation of ‘ung og lovende/young and promising’, where the gallery’s definition of being young and promising is anyone who has graduated from a university programme within the last five years and who shows their love for the material by exploring the many ways of working with glass. The show aims to shed new light on how people perceive the medium of glass. This exploratory approach to glass as an artistic expression is an important feature of the exhibition concept.
Artists working with glass alone, or in combination with other materials, can apply.
Proposals must be submitted by 15 February 2023.
The show will take place between May and August 2023.
The annual Collect art fair takes place at the beginning of March 2023 at Somerset House in London, with over 400 artist makers represented. Tickets are available now.
Collect showcases exceptional work made in the last five years by living artists and designers. The work is presented by participating galleries, which curate their own displays and commission new pieces or bodies of work especially for the fair.
Works span many craft disciplines, including ceramics, glass, lacquer, art jewellery, precious metalwork, textiles and fibre, wood and paper, as well as pieces made using non-traditional materials, including resin and bone.
The fair’s aim is to introduce and cultivate purchasing audiences to develop and grow the financial and intellectual value of craft at this level.
Organised by the Crafts Council, Collect is well-regarded for its credibility, sector authority and leadership with a warm-hearted openness and shared experience that the Crafts Council prides itself in delivering.
The fair provides art consultants, interiors specialists, collectors, museum curators, design practitioners and wider enthusiasts with an unrivalled opportunity to discover and invest in contemporary craft that is designed to surprise, delight and endure.
Browse and buy artworks from almost 40 specialist galleries, representing hundreds of artist makers from around the globe.
Collect also offers the chance to hear from leading experts in contemporary craft, art and design in a three-day talks programme, held at Somerset House, and also streamed online.
To make a booking, please visit the Somerset House website. Book before 31 January 2023 to get early bird rates.
Following exclusive preview days, Collect opens to the public from Friday 3 to Sunday 5 March (11.00-18.00 daily). It is also live on Artsy.net for all to view from 1-12 March 2023.
Somerset House is at the Strand, London WC2R 1LA.
Image: Somerset House hosts the annual Collect fair.
Two people with close connections to glass have been awarded MBEs in the first New Year’s Honours list of King Charles III, recognising their public service. They are John Reyntiens and Barbara Beadman.
Glassblower John Reyntiens, of Reyntiens Glass Studio, received his award for services to art and heritage. John is most well-known for the bespoke stained-glass window at the North End of Westminster Hall in the Palace of Westminster, which was gifted to Her Majesty the Queen for her 2012 Diamond Jubilee.
Speaking at the time of the installation, Michael Ellis MP commented, “John’s work has received universal acclaim and as well as a great talent and skill in the ancient traditions of stained glass, John dealt expertly with the complexities of working at a World Heritage site.”
More recently John’s team replaced the North Dial clock face of the iconic tower housing Big Ben at the Houses of Parliament in London.
Another recipient of an MBE is Barbara Beadman who has been awarded an MBE for her services to the glass industry.
Barbara Beadman received an MBE for services to the glass industry.
She is Immediate Past Master 2022 of the Worshipful Company of Glass Sellers of London and, while she has now retired from glass making after 25 years in the sector, she remains involved in the industry through Board membership of the British Glass Manufacturers Confederation and being a Court Member of the Worshipful Company of Glass Sellers of London. Until the closure of the Broadfield House Glass Museum in 2017 she was Chairman of the Friends of the Museum for 20 years.
Barbara’s achievements include reintroducing the teaching of glass beadmaking to the UK in the 1990s, for which she was made a Founder Honorary member of Glass Beadmakers UK.
Main image: John Reyntiens in 2012 with one of the Westminster Hall panels made for the Queen’s Diamond Jubilee.
Artists and craftspeople have been tuning in to watch the BBC tv series ‘Make It at Market’, where hobby makers are mentored to help them move their passion into a business. Allister Malcolm, who is based at the Stourbridge Glass Museum, was the mentor for the four budding glass artists on the show. Here we hear from one of his protegees, Emmy Palmer, whose ‘Pip’ blown glass dishes and knitted wire and glass pieces impressed Allister and presenter Dom Chinea, of ‘The Repair Shop’ fame.
Emmy says, “‘Make It at Market’ came around at the right time for me. I’d just started back in the hot glass studio a few months before applying for the show and I knew then that I wanted to pursue glass again!
“Teign Valley Glass studios are the unsung heroes for me behind the scenes of the show. They supported me for months in the run-up to filming and throughout the whole process. They helped me to rebuild my skills and reminded me of all the things I had forgotten in my years away! I love making my glass there with Richard Glass and team.
Emmy Palmer’s K.O.P.O (knit one purl one) bowls combine her love of knitting and glassblowing. Photo: Simon Bruntnell.
“‘Make It at Market’ has been just the best experience. The production team and everyone involved made it a joy to be part of the show. I loved working with the Minimelt team, using their outside glass studio. The setup was amazing! Allister Malcolm was such an inspiring and hard-working mentor. His dedication to his role on the show was clear from the get-go and he had really thought about each of us glass makers and our individual needs. He came up with bespoke plans to help us to build a successful business and he put in so many hours behind the scenes with all of us.
“The show has opened a positive way forward for me, set me up to take opportunities, and guided me through the best way to go forward. Even before my episode had aired, I had the pleasure of making bespoke orders for Braybrook and Britten and A Heart of Glass Gallery, plus numerous exhibition opportunities and enough Christmas orders to keep me going all season.
Emmy’s ‘Del Mar’ vessels sandwich knitted wire. Photo: Simon Bruntnell.
“The response after my episode aired has been wonderfully overwhelming. I’ve received so many kind messages. I’m still trying to catch up with orders, messages and plan my forthcoming months!
Emmy’s glass ‘Pips’ were admired by Allister and Dom. Photo: Simon Bruntnell.
“Stourbridge Glass Museum and Allister Malcolm Glass are putting on an event at the Museum on 4 February 2023. This will feature all four glass makers from the series – Belinda King, Alison Vincent, John Mark Fenn, and me. It will start with a meet and greet, then an unveiling of Belinda King’s work which is being given a place in the permanent collection at the Museum. After that there will be demonstrations by each glass maker.”
For anyone wanting to go along, the event is included with the usual Stourbridge Glass Museum entry fee. The meet-and-greet is at 10.30am. At 12pm is the unveiling of the work by Belinda King, and between 1pm and 4pm will be the glassblowing demonstrations. The museum also has some of Emmy’s work for sale in the shop.
Find out more about Stourbridge Glass Museum here.
Reserve you space to meet the artists via this link.
Tali Grinshpan’s delicate glass work is inspired by both nature and her life experiences. She particularly draws on her own feelings as an immigrant to the USA – and the conversations she has had with others in the same situation. Linda Banks finds out more
What led you to start working with glass?
I have always loved working with my hands. Even as a child, I loved spending hours in art classes and exploring. Over many years, I have worked with clay, wood, metal and fibre.
My grandparents had many beautiful glass objects in their home. I spent hours looking at these glass sculptures, watching what happened to light as it moved through them, and how their colours changed.
An opportunity to work with glass came in 2012. After moving to California, I was looking for an art class so that I could explore with my hands again. I took a fusing class at the community art centre in my town. Very quickly glass became an obsession: I had found a medium that spoke to me on many levels – emotionally, visually and intellectually.
‘Yearn’ is made from pate de verre highlighted with 24k gold leaf. Photo: Keay Edwards.
What glass techniques have you used, and which do you prefer?
When I started working with glass, I wanted to explore and experience every possible way of working with this fascinating material, so I took blowing, flame working, casting and mosaic classes.
After realising my main interest lay in kiln forming, I used many different techniques, such as painting with powders and enamels, screen printing, pot melts, and a variety of casting methods. I also continually explored in my studio. After learning how to work with the material, I experimented with pate de verre in my studio, while also taking pate de verre classes. I recognised that this would be the beginning of a long journey of exploration.
‘Homeland I’ comprises pate de verre, 24k gold leaf and enamel on a wooden base. Photo: Keay Edwards.
What is your creative approach? Do you draw your ideas out or dive straight in with the materials?
Usually, I start with a concept, sketching and writing my thoughts, and researching. Often, I build models that give me a sense of the size and the shapes I want to work with and that allow me to play and explore freely. The next step is moving to the glass and making the work. I plan about 70% and 30% is unknown and improvised.
Another important part of my creative process involves hiking in nature. Hiking helps me organise and clarify my thoughts about the process and the possible results.
What inspires your work?
A lot of my inspiration comes from nature, and its ever-changing cycles. My own life experience and heritage are a big source of inspiration, as well as childhood memories and dreams. Another source of inspiration is my education. With a BA and MA in Psychology, I am fascinated with the wide range of human emotions, and I try to capture and articulate these emotions in my work, using the remarkable properties of glass.
Some of those emotions have to do with being an immigrant and meeting other immigrants. Since moving to the United States in 2004, I have had many conversations with immigrants. These conversations, and my own experience, inspire me to create works that explore my, and their, emotional experiences.
‘Seeds of Hope’ features pate de verre and mixed media. Photo: Keay Edwards.
What message(s) do you want to convey through your art?
As a universal language, art can bring people together to a place of reflection. I examine the human condition, utilising glass as an analogy while challenging the material in different ways. Through materials I speak in ways I can’t, or don’t want to, in words.
For the past five years my work has focused on the immigrant experience. I explore the concept of identity, hoping to create intimate spaces that speak of our emotional existence and life’s ephemeral journey. I want to tell a story of fragility and strength, vulnerability, and resilience. And I hope to bring awareness that may lead to a conversation about a complex and difficult subject like immigration.
‘Tashlich (To cast away)’ is created from pate de verre and acrylic paint. Photo: Keay Edwards.
What is your favourite tool or piece of equipment and why?
My spatulas and my brushes are the tools I use most; I cannot do my work without them.
Do you have a favourite piece you have made? Why is it your favourite?
A favourite piece is called ‘Promises’. it was a breakthrough moment for me when I felt I finally found a way to express my thoughts and feelings through an object in a very clear way. This was also the piece that was selected for New Glass Review 39, published by the Corning Museum of Glass.
In answering this question, I realise that this is like asking me which of my children I like best. Every piece I work on is my favourite and I love them all equally. With each piece I have a different connection, and I go on a different journey from start to finish. Each piece holds a part of me as it also becomes a part of me. I learn from every one.
However, ‘Promises’ was a breakthrough piece that opened the doors to creating many other pieces.
The piece ‘Promises’ is a favourite of Tali’s and opened up new design opportunities. It is constructed from pate de verre glass and mixed media. Photo: Keay Edwards.
Where do you show and sell your work?
My work is included in numerous private collections and is exhibited in galleries and museums such as Museum of Glass Kanazawa, Japan, the Imagine Museum, Boise Art Museum, Grand Rapids Art Museum, and Tacoma Museum of Glass in the USA, plus the National Gallery in Sophia, Bulgaria, Qingdao Art Museum, China, and Eretz Israel Museum in Tel Aviv, Israel.
A few pieces are currently being exhibited at the San Jose City Hall and at the Craft Forms exhibit in Wayne, Pennsylvania, USA.
What advice would you give to someone starting out on a career in glass?
Be prepared to work hard, believe in yourself: a career in art is not a straight line. It is a life-long journey.
Do you have a career highlight?
In 2022 the Qingdao Art Museum in China acquired one of my pieces for its permanent collection; this was very exciting.
Where is your glass practice heading next?
I am in the process of creating a new body of work. I am also working on developing opportunities to curate exhibitions that will educate and promote the art of pate de verre.
‘Where the Heart is’ features pate de verre and casting and is made from glass, 24k gold leaf and enamel. Photo: Keay Edwards.
Is the global energy crisis affecting your practice?
Probably not as much as other parts of the world. But the main effects of the energy crisis on my practice are the higher electrical bills and the rising prices of glass materials.
‘Secrets V’ is made from pate de verre and mixed media. Photo: Keay Edwards.
And finally…
I am very grateful to be a part of the glass art community at a time when we are discovering so many new ways of working with this remarkable material that comes from sand. A funny fact: I lived my childhood in Holon, a city located on the central coastal strip of Israel, south of Tel Aviv. The name Holon was chosen to reflect the sand dunes on which it was built: ‘hol’ in Hebrew means ‘sand’. Today, most of those dunes are gone, replaced by buildings. But I remember the feeling of the sand in my hands, accumulating in my shoes, getting in my hair, my eyes, my mouth. This sand was an integral part of my childhood. Now I work with silica, a basic element of glass, connecting my early memories of these now disappearing dunes to the present.
‘Regret’ is created from pate de verre and gold leaf. Photo: Keay Edwards.
About the artist
Tali Grinshpan at work in her studio. Photo: Jonathan Boykin.
Born and raised in Israel, Tali Grinshpan now lives in Walnut Creek, California, USA.
She has been studying glass since 2012, taking workshops at Pilchuck Glass School, Corning Museum of Glass, Pittsburgh Glass Centre and Bullseye Resource Centres in the USA, as well as North Lands Creative in Scotland.
In 2016 her work was selected as a finalist at The International Exhibition of Glass, Kanazawa, Japan. She was also the first prize winner of The Glass Prize 2017 international competition, UK. In 2019 her second solo exhibition, ‘Longing for the (Home)land’ opened at Bullseye Gallery in the Bay Area, California, USA. In February 2020 she curated an exhibition called ‘Particles’ at Abrams Claghorn Gallery in Albany, USA. In 2022 her piece ‘Homeland I’ was awarded the first place at the Glass Art Society exhibition at the Museum of Glass in Tacoma, USA.
Find out more about Tali and her work via her website.
Main feature image: ‘Somewhere’ is made from pate de verre, with 24k gold leaf and enamel. Photo: Keay Edwards.
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