WGS New Covid Protocols = Big Hit!

The Washington Glass School prepares to reopen the studio- and have outlined new COVID-19 procedures, based on CDC guidelines. Click HERE to jump to posting.
Proper Face Masks must be work to enter the studio and school.

Dr Tony Fauci at Washington Glass School

Dr. Fauci ceremoniously presents the golden thermometer to WGS Co-Director Erwin Timmers as the reopen protocols for the Washington Glass School are announced. After the ceremony, all scrubbed up for 20 seconds and social distancing was returned. Image by C. Montague, esq.

The announcement of new Covid Protocols garnered much fanfare and attention! Dr. Fauci – Tony – swung by to give it the “thumbs up”.

Washington Glass School COVID Re-Open Protocols

This guidance is intended for our visitors, artists and instructors who want to ensure the cleanliness and safety of the Glass School. Re-opening of the Washington Glass School & Studio requires all of us to move forward together by practicing social distancing and other daily habits to reduce our risk of exposure to the virus that causes COVID-19. In general, the reopening the country also strongly relies on public health strategies, including increased testing of people for the virus, social distancing, isolation, and keeping track of how someone infected might have infected other people.

wgs.washington.glass.school.protocol.covid.page.3.wear.mask.trump_flu

ARTOMATIC 2.0 & James Renwick Alliance: ZOOM!

The HUGE DMV art fair Artomatic has gone virtual for 2020!  The 20th anniversary of Artomatic will be celebrated online with virtual artist profiles, live opportunities for performing artists, enriching workshops, and more!  

The James Renwick Alliance (JRA) is hosting a number of events during the Artomatic 2.0  – the zoom events below start tomorrow!

Register online : https://www.jra.org/artomatic.html

artomatic-logoFriday, July 24th @ 7pm

JRA Awards Presentation

The James Renwick Alliance has selected to highlight  10 artists from Artomatic 2.0 for their excellence in the craft field. Awards will not be announced ahead of time, so tune in to find out who won!

 

 

 

Wednesday, July 29th @ 7pm jra.artomatic.2.0.2020

The History of Craft in Washington, DC

The JRA presents an online ZOOM discussion on the history of art and craft in Washington DC by some of the leading experts on the subject: Brett L. Abrams, Rebecca Cross, Jaimianne Jacobin and Jack Rasmussen.

 

 

jra.artomatic.2.0.2020.shea

 

 

Wednesday, August 5th @ 7pm

What Makes a Piece of Craft Exceptional?

The JRA will moderate an online ZOOM panel conversation on how craft collectors decide what makes a piece of art exceptional enough to add to their collection. The Conversation will have artists Rebecca Ravenal, Chris Shea, and Tim Tate, arts collectors Jere Gibber and J.G. Harrington and Dr. Jeffrey Bernstein and Dr. Judy Chernoff. This event will be moderated by arts supporter Chris Rifkin. Chris currently serves on the board of The South Shore Art Center and the Fuller Craft Museum, and is a Founding Chair of CraftBoston, a juried biennial exhibition of well-known and emerging artists in the United States.

 Register for these events online : https://www.jra.org/artomatic.html

The James Renwick Alliance (JRA) is an independent national non-profit organization that celebrates the achievements of America’s craft artists and fosters scholarship, education, connoisseurship and public appreciation of craft art. The JRA is made up of art enthusiasts, collectors, artists, educators, students and art professionals who share a passion for contemporary American craft. Founded in 1982, the Alliance fulfills its mission through public programs, educational trips, publications, recognition of craft artists, and financial support of museums and other non-profit organizations, including the Renwick Gallery of the Smithsonian American Art Museum.

DC’s Multi-media Arts Festival – Artomatic – is HERE!

ARTOMATIC 2.0: A VIRTUAL EXPERIENCE . Since we can't gather physically, for now,  the 20th anniversary celebration is online - July 20 - August 20, 2020

ARTOMATIC 2.0: A VIRTUAL EXPERIENCE . Since we can’t gather physically, for now, the 20th anniversary celebration is online – July 20 – August 20, 2020

If you have been around the DC area for a while, you have probably experienced Artomatic in some form, either as a participant or visitor. Please consider showing your artwork this year. There is a suggested $20 entry fee. For that, you’ll receive your own page with 5 images, your bio, a paragraph about your work, and links to whatever you want. The James Renwick Alliance – a group of collectors, artists, educators, gallery and museum professionals who share a passion for contemporary American craft will be giving out awards to media specific work again this year & we hope to see your work among the pieces for consideration. Artomatic is such a great community building event and we would love you to be a part of our special family.

Artists! Sign-up online – click here to jump to Artomatic artist page!

If you register for Artomatic 2.0, be sure to share on social media.  Tag @jracraft and #jracraft so they can see you!

WGS Featured Artist: Joseph Ivacic

CLICK IT! Featured Artist: Joseph Ivacic

joseph.ivacic.glass.art.chicago.wgs.contemporary.shift

Joseph Ivacic is a Chicago based glass artist. Since receiving his BFA from the University of Illinois at Champaign, Urban, he has been showing in group and solo shows throughout the country. Joseph’s work challenges the viewer to see things differently, both from a subject and content point of view, as well as the fact that, while his work is made from glass, it certainly doesn’t look like traditional glass.  

Joseph started using the moniker PARADIGM SHIFT to experiment with different themes in his art. “The narratives of these pieces are inspired by contemporary life, inviting the viewers to place themselves within the work.  My compositions of faux installations are filled with text and imagery providing the viewer with subtle hints that the work is not what they perceive.  Our modern day truths are what we say they are and our sense of reality is skewed based on our perspective.”

In 2018, Ferd Hampson of Habatat Galleries declared Joseph to be a “Top Ten Trend in Contemporary Glass” for his recent street inspired work – where all elements are glass, including the labels on the cans.  

Washington Glass School blog catches up with Joseph as his work is part of the WGS Contemporary online exhibit “CLICK-IT!” and also in the “Artists For Racial Justice” exhibit/fundraiser.

Washington Glass School (WGS): Describe your artwork method/process.

Joseph Ivacic: I am a contemporary sculptor who uses glass as my primary medium. I combine a variety of techniques to create my groupings. The spray paint cans are blown and hot sculpted in the hot shop. Labels that are on the cans are Ceramic Decals and are applied to the glass cylinder prior to it being assembled hot. The elements that appear to be steel are created a by sifting powdered glass on to sheets of glass and then are slumped and fused at temperatures as high as 1450 degrees.

Joseph Ivacic, "Summit"; Glass; 12"x6"x4"

Joseph Ivacic, “Summit”; Glass; 12″x6″x4″

WGS: Describe your work in the show and highlight aspects that the viewers should understand about the work.

Joseph Ivacic: My work in these two shows vary and I am excited about both. The smaller pieces with the spray paint cans and the faux steel are continuations of my larger installations but are intended for newer collectors, people with small niches, or would like to own my work but it doesn’t work with there budget. This body of work is loaded with content and some of the topics are urban decay and the beauty in aging. I don’t want to share too much about the pieces because I want the viewer to come up with their own conclusion.

Joseph Ivacic, "Echoes", Glass, wood, 14"x15"x29", 2020. Featured in WGS Contemporary "Artists For Racial Justice" exhibit.

Joseph Ivacic, “Echoes”, Glass, wood, 14″x15″x29″, 2020. Featured in WGS Contemporary “Artists For Racial Justice” exhibit.

The piece in the Social Justice show titled “Echoes” is a narrative piece about protest and the long term benefits of standing up for your rights and beliefs. The Megaphone is made of glass and is assembled hot. The soap box is intended to look like a found object but I made that as well.

WGS: How have you handled the COVID-19 lockdown? How have you adapted?

Joseph Ivacic: The Covid lockdown has been tough. I really miss social interaction and engaging through a screen is not the same. I usually work at a public access glass studio for my blowing needs which has not been open to the public since the middle of march. During all of this craziness my family has also moved houses and I have moved studios. I am excited about my new studio, but it still has a long way to go before its operational. My creative outlets have been painting a working digitally on a tablet. I will be incorporating these new techniques in to the new pieces I am working on. As a glass artist, I feel we always need to adapt our vision with the properties of the material. As we evolve our relationship with glass, we understand what rules we can bend and what rules we can break.joeseph.ivacic.my.illusion.part.2.glass.art.sculpture.new.contemporary

WGS: What artwork/event has moved you and got you thinking about your own work?

Joseph Ivacic: During this time, I have been most moved by the social equality movement around the Black Lives Matter. I have spent a lot of time researching and trying to understand how be a better human and how to communicate this through my work. I think in the next year we are going to see a lot of art with this as the subject matter. 

Joseph Ivacic checks out the street art as the street art checks out Joe.

Joseph Ivacic checks out the street art as the street art checks out Joe.

WGS: if you were not an artist – what would you be?

Joseph Ivacic: I have a background in teaching and would probably work with high school students. I don’t know if it’s possible for me not to be an artist. 

WGS: Do you do a lot of planning in your work – or is there an element of chance while working?

Joseph Ivacic: YES! My work requires tons of planning. I usually start with message and move to imagery from there. At that point in need to figure out scale and how to break the piece up into shippable pieces. Each of my panels needs to be fired at a minimum of 3 times and usually if something is going to break it will happen on the 3rd firing. Also anytime I want to incorporate a new color I need to do a sample with every other color I use to make sure that the new color expands and contracts at the same rate as the other colors. If the new color doesn’t the entire piece breaks.

Joseph Ivacic, "Propoganda Spray Can" 24"H; glass. The cans of spray paint draw parallels, positive and negative, between spray paint as art and as one of the oldest forms of social communication while layers of vibrant colors and text provoke further examination of the subtle details.

Joseph Ivacic, “Propoganda Spray Can” 24″H; glass. The cans of spray paint draw parallels, positive and negative, between spray paint as art and as one of the oldest forms of social communication while layers of vibrant colors and text provoke further examination of the subtle details.

WGS: What is your rule of thumb in determining when a work is finished?

Joseph Ivacic: The rule of thumb on when the piece is finished… The piece is usually finished 2 days before the due date. :)

Joseph Ivacic at work in the hotshop.

Joseph Ivacic at work in the hotshop.

Click HERE to jump to Joseph Ivacic’s work in CLICK-IT!

 

Click Here to jump to the Artists For Racial Justice exhibit.

Final Week of CLICK-IT! Online Exhibition

Works by Jennifer Caldwell & Jason Chakravarty, Jeff Zimmer, F Lennox (Lenny) Campello, Teri Bailey and Steve Wanna.

Works by Jennifer Caldwell & Jason Chakravarty, Jeff Zimmer, F Lennox (Lenny) Campello, Teri Bailey and Steve Wanna.

We’re down to the final week the “CLICK-IT!” online exhibit!. Showing works by these talented artists (Teri Bailey, F. Lennox Campello, Jennifer Caldwell, Jason Chakravarty, Cheryl P. Derricotte, Sean Donlon, Sean Hennessey, Joseph Ivacic, Michael Janis, Carmen Lozar, Tim Tate, Erwin Timmers, Steve Wanna, & Jeff Zimmer) to the public and hearing the wonderful feedback has been so rewarding. It means a lot to us that we can share their world with the world and an appreciation for the works/sentiments/technical brilliance can be appreciated.

Works by Sean Donlon, Michael Janis, Jennifer Caldwell & Jason Chakravarty, Joseph Ivacic and Tim Tate.

Works by Sean Donlon, Michael Janis, Jennifer Caldwell & Jason Chakravarty, Joseph Ivacic and Tim Tate.

Those who have yet to visit the exhibition should grab the chance to see these truly wonderful works online – click HERE to jump to online exhibit!

Works by Cheryl Derricotte, Sean Hennessey, Erwin Timmers, Jennifer Caldwell & Jason Chakravarty and Carmen Lozar.

Works by Cheryl Derricotte, Sean Hennessey, Erwin Timmers, Jennifer Caldwell & Jason Chakravarty and Carmen Lozar.

Artists For Racial Justice” exhibit and fundraising for non-profits that can help with equality with art as a tool for healing and peace to help at this time.

Artists for racial.equality.justiceClick HERE to jump to the fundraiser arts page.  

Want more than just visual …stimulation? click on link below and get the official “Click It” themesong – music by Donovan Lessard.

WGS Featured Artist: Teri Swinhart

CLICK IT! Featured Artist: Teri Swinhart

Teri Bailey

Teri Swinhart

Teri Swinhart is a multimedia artist holding a BFA in Glass from The University of Wisconsin – Stevens Point and an MFA from The Ohio State University. She thrives in learning, pursuing opportunities to expand her understanding of material at institutions such as Penland School of Crafts, the Corning Museum of Glass, Pilchuck Glass School and the Chrysler Museum of Art. Teri currently lives and works in Washington D.C. as the Studio Coordinator for the Washington Glass School and the Director of WGS Contemporary.

Teri Bailey teaching pâte de verre technique at the Washington Glass School.

Teri Swinhart teaching pâte de verre technique at the Washington Glass School.

Washington Glass School blog catches up with Teri as her work is part of the WGS Contemporary online exhibit “CLICK-IT!”.

Washington Glass School (WGS): Describe your artwork method/process.

Teri Swinhart: The forms for the Sanctuary Series are constructed by precisely layering thin glass strands to imitate weaved textile patterns. The glass strands are lightly melted together and then heated until they slump over a hand-made mold.  Each mold is uniquely carved out of a soft plaster mixture that is removed after firing, creating a negative space within the glass sculpture. I also create a charcoal drawing of my inspiration (a child hiding under a blanket) to help guide the viewer and add visual variety.  

Teri Bailey, "Sanctuary Among Fragility"; Kilnworked Glass, Flat Glass; 6”x7”x4”

Teri Swinhart, “Sanctuary Among Fragility”; Kilnworked Glass, Flat Glass; 6”x7”x4”; concept sketch above finished work.

I combined an assortment of processes to create Seeking Home. This piece includes a hand sculpted figure as well as a glass quilt square. I made the square by sifting ground up glass powder (called frit) through a stencil onto a larger sheet of flat glass. I then fired the sheet and fused the pattern onto the surface. 

Teri Bailey, "Seeking Home"; Glass, Poly-Vitro, Wood; 18”x20”x6”

Teri Swinhart, detail, “Seeking Home”; Glass, Poly-Vitro, Wood; 18”x20”x6”

Delicate Revolution is an installation of over 400 eyehooks that have been corseted together with layers of silk ribbon. This installation changes every time it is presented and is dependent on the space around it.

Teri Bailey: Detail "Delicate Revolution"; Stainless Steel Eyehooks, Ribbon, Wood; 2'x8'x1'

Teri Swinhart, Detail “Delicate Revolution”; Stainless Steel Eyehooks, Ribbon, Wood; 2′x8′x1′

Defiance (in Artists for Racial Justice Fundraiser) is a deep red glass casting of a human neck with its chin raised. The chin proudly jutting out, even though it is fractured and worn. The mold for the piece was made by painting body safe rubber mold material onto my model’s neck, waiting for it to try, then removing the mold and pouring wax into it to create a reproduction. The wax neck is then covered in plaster-silica to create a kilnproof mold. The wax is melted of out the mold and the negative space that it leaves is filled with cold chunks of glass and heated up in a kiln until they melt.

WGS: Describe your work in the show and highlight aspects that the viewers should understand about the work.

Teri Swinhart: The work in this show highlights many of the different processes and materials that I enjoy working with. All of these works highlight my fascination with textiles and their role in the home. Similar to artists like Mary Cassatt, I am drawn to exploring the beautiful intimacy within the home and the personal.

WGS: What artwork/event has moved you and got you thinking about your own work?

Teri Swinhart: The two biggest things influencing my work (and much of the world) right now are COVID and the BLM Movement. So much of the inspiration for my work comes from the emotion and vulnerability of the extremely personal. I am painfully empathetic, so to watch this many people die so brutally leaves me fluctuating between heartbroken, terrified, and enraged. I don’t think I could keep emotions this intense out of my artwork even if I really tried. It has shown me that I need to take a stance on things I have been privileged enough to avoid in the past and use my voice to spread love and promote change. No pressure…

Here's your coffee - & thank-you for wearing a mask!

Here’s your coffee… & thank-you for wearing a mask!

WGS: if you were not an artist – what would you be?

Teri Swinhart: A psychologist… or a barista.

WGS: Do you do a lot of planning in your work – or is there an element of chance while working?

Teri Swinhart: Definitely a little bit of both. I feel like I spend 75% of the time in my sketchbook working through each element of an idea before I begin making, then when I feel comfortable with the plan I begin bringing it to life. I am flexible throughout the process and lots of things change as I lay the materials next to each other and work through the installation… it keeps me on my toes!

Click here to jump to Teri Swinhart’s work in CLICK-IT!

Teri’s work is part of the companion exhibit/fundraiser – “Artists for Racial Justice” Click HERE to jump to the show.

WGS Featured Artist: Steve Wanna

CLICK IT! Featured Artist: Steve Wanna

steve.wanna.artist.wgs.contemporary

Steve Wanna is a multi-disciplinary sound and visual artist whose work includes music, sound design for dance collaborations, sculpture, installation, photography, and works for mixed media. Born and raised in Lebanon, he immigrated to the United States with his family as a teenager, eventually receiving a doctorate in Music Composition from the University of Maryland in 2004.

Steve’s work is driven by his belief that under the right conditions beauty can emerge without the need for direct intervention. He creates abstract, experimental fixed works and installations in a variety of mediums and formats that include sound, 2-D work, sculpture, video, and photography. His work is informed by the principle of emergence as defined in systems theory and Buddhism. His process often involves an element of controlled randomness, taking great care to prepare the initial conditions for a process whose final results are largely out of his control.

As a composer and sound artist by training, the perception of the passage of time is a strongly recurring theme in Steve’s work.  Whether sonic or visual. he creates fixed works and installations that deal with mainly three different manifestations of this concept: fixed works that represent or capture a single moment in time, fixed works that are the result of a long process, and works that are themselves processes in perpetual unfolding.

Washington Glass School blog catches up with Steve as his work is part of the WGS Contemporary online exhibit “CLICK-IT!

Washington Glass School (WGS): Describe your artwork method/process.

Steve Wanna: As an experimental artist, I don’t have one set process in place. My work and process depend on the idea underlying a project and the materials in use. My inspirations vary from the literary to the scientific. I often have to invent new techniques for using materials in unconventional ways to realize my ideas, and I like the work to embody that process. My approach can be described as contained chaos, and most of my work hovers at the boundary between control and disorder: I carefully create containers or frameworks in which I then allow some process to unfold, almost completely unhindered. There’s an element of controlled randomness that allows processes and materials to come together to directly shape the final work, without constant intervention from me.

Steve Wanna, "Myth of Creation - CE181231.1036", Acrylic, powder pigment, resin, plaster, mixed media; 12" x 6" x 1.5"

Steve Wanna, “Myth of Creation – CE181231.1036″, Acrylic, powder pigment, resin, plaster, mixed media; 12″ x 6″ x 1.5″

I can describe the process of one of the works currently on offer. It comes from an ongoing series called Myths of Creation. Each work in the series is a record of a unique event, an instant of time, forever frozen. The idea was inspired by images from NASA’s Hubble Telescope of cosmic events like supernovae: what we see are records of ancient events that occurred eons ago but still have impact and immediacy. I wanted to capture that feeling. Each work is made by exploding various materials onto a prepared board. The resulting explosion becomes the work—each piece is a record of the very instant of its creation. The titles, which bear the date and time of the event, reflect this. The works are fixed finally in clear cast resin, which adds a depth and enhances the sense of these works as frozen moments of time, records of specific, cataclysmic events.

WGS: Describe your work in the show and highlight aspects that the viewers should understand about the work.

Steve Wanna: I have four works in this show that come from three different series, including, Myths of Creation, which I describe above. One thing that is difficult to convey in photographs is the depth and impact these pieces have. There’s a three-dimensional, sculptural quality that isn’t immediately obvious—the materials aren’t flat on the board but have texture and depth, and the cast resin enhances that. It’s also important to understand that when I create these works, I experience them as a viewer: each time I make a drop I don’t know what the result will be exactly and the work is being created anew for me. I find this an incredibly exciting and addictive feeling. 

Steve Wanna "...she who makes the moon the moon" - Scape #4", synthetic wax blend, paint, LED light, mixed media;6.25" x 6.25" x 3"

Steve Wanna “…she who makes the moon the moon” – Scape #4″, synthetic wax blend, paint, LED light, mixed media;6.25″ x 6.25″ x 3″

 

WGS: How have you handled the COVID-19 lockdown? How have you adapted?

Steve Wanna: I ended up catching the virus very early on, around mid-March, when very little was known. I struggled to get information and a test, but was lucky in that I didn’t require hospitalization. I had a range of symptoms that all cleared up eventually, except for two that lingered—some persistent weakness in smell and taste.

Like many artists, I wasn’t able to do much creatively. Free time isn’t helpful when it’s filled with anxiety and uncertainty on a global, national, and personal level. I’m hoping to get back into the swing of things soon, even though we still don’t have a clear path forward with this pandemic. But I do feel a sense of urgency to move one with life and try to figure out what things might look like in the future.

 steve.wanna.mix

WGS: If you were not an artist – what would you be?

Steve Wanna: I’m a composer by training and only recently went into visual art full time. I almost went into architecture, which I suppose is close to art. I also have a fascination with material sciences, physics, and philosophy. I still fantasize about being in a filed that somehow combines all those. Art comes pretty close. If I weren’t an artist I would still have to be involved in some creative activity. I don’t think I would know how to exist without that. I cook a lot and I relate to cooking in very much the same way: I like to experiment and see what happens. I think I’m addicted to discovering new things through play and experimentation and to making stuff.

WGS: Do you do a lot of planning in your work – or is there an element of chance while working?

Steve Wanna: Both. All my work has an element of chance or controlled randomness, but I’m also a very careful and meticulous planner. My personality is not impulsive and I’m even a bit of a control freak and that spills into my art practice. I use randomness as an antidote to being overbearing when it comes to making art—it helps get me out of the way of the work.

WGS: What is your rule of thumb in determining when a work is finished?

Steve Wanna: Most of my work relies on a process that I carefully put in place specifically to get me out of the way of having to make decisions like that. It’s a different way of thinking but I’ve found it to be more relaxed and open. It creates enough space to allow me and the work to coexist happily. The work is usually finished when the process is complete. I may have to make additional adjustments or modifications, but I try to stay true to the work and not insert unnecessary distractions into the work or my thinking.

Click here to jump to Steve Wanna’s artwork in CLICK-IT!

WGS Featured Artist: Carmen Lozar

CLICK IT! Featured Artist: Carmen Lozar

Carmen Lozar‘s glass sculptures inspires and provoke imagination. Telling stories has always been her primary objective. Some narratives are sad, funny, or thoughtful but artworks are always about celebrating life. Carmen lives in Bloomington-Normal, Illinois where she maintains a studio and is a member of the art faculty at Illinois Wesleyan University. She has taught at Pilchuck Glass School, Penland School of Craft, Pittsburgh Glass School, Appalachian Center for Crafts, The Chrysler Museum, and the Glass Furnace in Istanbul, Turkey. She has had residencies at the Corning Museum of Glass and Penland School of Craft. Although she travels abroad to teach and share her love for glass – most recently to Turkey, Italy, and New Zealand – she always returns to her Midwestern roots. 

Washington Glass School blog catches up with Carmen as her work is part of the WGS Contemporary online exhibit “CLICK-IT!” 

Carmen Lozar

Carmen Lozar

Washington Glass School (WGS): Describe your artwork method/process.

Carmen Lozar: I work with rods and tubes of borosilicate glass at a torch.  Flameworking lends itself to small intimate pieces, the type I most enjoy making. The process requires concentration, years of skill building and many, many generous mentors who are willing to share their knowledge. 

Caremen Lozar, "Bubble Gum", 2019, Flameworked glass, found object, 3"x 2"x 6"

Caremen Lozar, “Bubble Gum”, 2019, Flameworked glass, found object, 3″x 2″x 6″

WGS: Describe your work in the show and highlight aspects that the viewers should understand about the work.

Carmen Lozar: The work is the show is meant to be intimate and accessible, highlighting human follies in a lighthearted way. The bubble gum pieces are about the sticky messes we continually put ourselves in but also the ridiculous and stretchy nature of glass as a material. To me, much of the work is both funny and sad. 

The ketchup and mustard piece, Fight, is about the continual small spats that my daughters engage in daily. I know that they love each other and work well together but this does not stop them from ongoing sibling rivalry. This piece makes light of their arguments knowing they will pass and, in a way, preserving my sanity.

Carmen Lozar, "Fight", Flameworked glass and found object. 3"H x 8"L x 2"D

Carmen Lozar, “Fight”, Flameworked glass and found object. 3″H x 8″L x 2″D

WGS: How have you handled the Covid lockdown?

Carmen Lozar: I have been oscillating between enjoying a quiet summer and completely freaking out. There is so much to process and digest that I am sure the landscape of what we make will change as a result. I believe an entirely new aesthetic will result as a product of the pandemic and unrest.

Image from Carmen Lozar's sketchbook.

Image from Carmen Lozar’s sketchbook.

WGS: Do you do a lot of planning in your work – or is there an element of chance while working?

Carmen Lozar:  I do a lot of planning before I begin a new artwork, usually beginning with several drawings in my sketchbook. I usually stick to the drawing/idea pretty closely although if there are too many repetitive parts in the piece I will simplify. I have a short attention span and making the same objects over and over, while I love the way it looks, is difficult for me.

WGS: if you were not an artist – what would you be?

Carmen Lozar: An allergist.

WGS: What is your rule of thumb in determining when a work is finished?

Carmen Lozar: You get a crazy wonderful rush of adrenaline that you cannot find anywhere else!

Click here to jump to Carmen Lozar’s work in CLICK-IT!
Click HERE to jump to the show.

WGS Featured Artist: Erwin Timmers

CLICK IT! Featured Artist: Erwin Timmers

Erwin Timmers is the co-founder of the Washington Glass Studio and Washington Glass School. Originally from Amsterdam, he moved to California and graduated from Santa Monica College for Design Arts and Architecture. In 1999 he moved to the Washington DC area and since then his sculptural artwork has been on display in Zenith Gallery, Fraser Gallery, and Gallery Neptune. Erwin was named the Montgomery County, MD Executive’s Award Outstanding Artist of the Year in 2018.

His approach to art is multifaceted, incorporating metalwork, innovative lighting and glass design. He teaches glass, lighting, sculpture, and metal work. Industrial salvage and recycling are recurring themes in his work, which he sees as crucial parts to the interaction with one’s surroundings. Recently, the Artisan 4100 - an apartment community opening along Route 1 in Brentwood, MD – commissioned Erwin Timmers to create a major glass and light installation for the new building lobby.

Artist Erwin Timmers installs Artisan 4100 Building artwork commission.

Artist Erwin Timmers installs Artisan 4100 Building artwork commission.

Washington Glass School blog catches up with Erwin as his work is part of the WGS Contemporary online exhibit “CLICK-IT!”.

Washington Glass School (WGS): Describe your artwork method/process.
Erwin Timmers: I cast objects in recycled glass. For this series I have used discarded packaging material, from which I take molds in plaster. The glass then heats up in an electric kiln, melts and takes on the shape of this mold. To finish I chop, and trim the glass and weld the metal frame.

Erwin Timmers, "Patterns of Containment V" cast recycled glass

Erwin Timmers, “Patterns of Containment V” cast recycled glass

WGS: Describe your work in the show and highlight aspects that the viewers should understand about the work.

Erwin Timmers: The work features single-use plastic wrappings that viewers may recognize. The grid format formalizes the display of “trash” as art and then I use grids within each frame as well. I hope to give viewers a moment of pause while contemplating the shapes and patterns.

Erwin Timmer: detail "Patterns of Containment"

Erwin Timmer: detail “Patterns of Containment”

WGS: How have you handled the Covid lockdown?

Erwin Timmers: Initially COVID was like snow days we hadn’t had, but with great weather. That was before any financial pressure came into play. It was motivating to see the air pollution worldwide go down, I wish it could stay like that. But at the same time the single use plastic pollution is increasing, giving me even more art base materials…

WGS: What artwork/event has moved you and got you thinking about your own work?
Erwin Timmers: The current civil crisis has been deeply moving. It caused me to rethink and redevelop the direction of my hands symbol series.

WGS: if you were not an artist – what would you be?
Erwin Timmers: Epidemiologist 

Erwin Timmers suits up in his PPE gear to work in the studio.

Erwin Timmers suits up in his PPE gear to work in the studio. Or tend the studio bee-hives.

WGS: Do you do a lot of planning in your work – or is there an element of chance while working?
Erwin Timmers: I plan the general idea, but often new ideas and aspects emerge as I work. I try to incorporate these, and I can then evaluate whether they work or not.

WGS: What is your rule of thumb in determining when a work is finished?
Erwin Timmers: When I sign it, it is done…

Click here to jump to Erwin Timmers work in CLICK-IT!
Erwin’s work is part of the companion exhibit/fundraiser – “Artists for Racial Justice” Click HERE to jump to the show.