Washington Glass School invaded by Macedonians!

Audrey Wilson with Mimi and Janko Gogusevski.

Audrey Wilson with Mimi and Janko Gogusevski.

Visiting Macadonian designers & glass artists Janko and Mimi Gogusevski were visiting in the US, when they got the fever. For glass. And the only prescription is more glass.  Mimi and Janko are the owners of Skopje’s Studio Vitrum in Macedonia, and after a short visit to the Washington Glass School, decided to re-arrange their schedule to allow for a workshop in bas-relief kiln casting, headed by superstar instructor Audrey Wilson.

Mimi Gogusevski sets up the glass in the kiln.

Mimi Gogusevski sets up the glass in the kiln.

Architect Janko Gogusevski looking quite the ženkar in his colorful apron.

Soon the phrase “Moeto letačko vozilo e polno so jaguli” was heard throughout the school. 

Working with Audrey, the couple explored options in creating architectural glass panels that they will be producing from their European glass studio.

We hope the artists are happy with their works and that we team up again sometime in the future – “Washington Glass School Goes to Europe”  is our dream!

rrr.glass.studio_vitrum.glass.macedonia.usa.kilncast

Molds of sample patterns fill the kiln.

Vanderbilt University Glass Panels (Part 2)

>

Vanderbilt University’s Critical Care Tower Nurse Stations

Ardent readers of the Washington Glass School blog will remember earlier posting about theVanderbilt University, where the University’s new Critical Care Tower installed kilnformed glass panels. The project has expanded and additional floors were designed to incorporate more of the kilnformed glass panels in new areas, each with the floating leaf motif. The leaf is the symbol of Vanderbilt University and the oldest part of the Vanderbilt campus is known for its abundance of trees and green space. The campus was designated as a national arboretum in 1988.
The imagery of swirling leaves were always part of the design of the custom glass architectural panels.
Mick Coughlan and Erwin Timmers worked on the creation of the new series of glass panels – some shots of the panels in progress:


Mick Coughlan gives the glass set into the kiln one last clean.

The deep-relief dry plaster kiln casting method is used to create the panels.

Erwin Timmers edge polishes the glass panels. Dousing everything with water.

After the edge polishing Mick & Erwin’s glass edge grinding, impromptu dryers (aka hot kilns) sported wet clothing.

Glass Sparks: Sean Hennessey

>

The Measure of Value (detail)
Sean Hennessey is a Sculptor, Painter, blogger, propmaker and installation artist, and member of the Washington Glass School family. A graduate of the unique Berea College, Sean worked in professional theater for 10 years as a welder, carpenter, rigger, scenic artist, prop artist, and designer all the while creating his own artwork. Sean has been with the Washington Glass School since 2004 when Tim Tate finally convinced him that glass was cool.


The Measure of Value
Glass, Concrete, Steel
42″x13″

He began his relationship with the Washington Glass School by teaching mold making and concrete casting and assisting various classes. Slowly and steadily Sean began including more and more glass into his mixed media sculptures. By 2010 Sean focused primarily in glass and became a resident artist at the Washington Glass School. His current work uses a combination of glass, concrete, found objects, and steel to create works based on mythologies, philosophy, personal experiences, and whimsy.

We Share What We Have
Glass, Concrete, Steel
24″x13″

A Dream of Flying
Glass, Concrete, and Steel
24×13

Sean creates pieces that have the feel of archaeological finds, as if messages from today have been uncovered in some not too distant future. The earthiness of the concrete in his pieces suggests age and patina, slightly covering and obscuring his glass reliefs. He equates the glass with ethereality and the concrete as a corporeal coating. His work touches on issues of overcoming in everyday life–judging yourself and being judged by others, finding and maintaining inspiration, and dealing with dreams and hopes than conflict with our reality.

Ghost Light
Glass, Concrete, Steel
43″x13″

Sean uses the Dry Plaster Relief Casting technique in his work. He sets up boxes inside the kiln, fills the box with sifted plaster power, makes impressions in the plaster, places sheets of float glass on top of the box and fires the glass to slump into the mold.

Sean working inside the kiln.

It’s a dusty process

Example of a Mold used for Dry Plaster Relief Casting

Once the glass is removed from the kiln, Sean uses special primers and polymers to add a coating of cement to the surface.

Glass castings fresh out of the kiln.

Adding layers of concrete to the glass

But it’s not done yet! Apparently Sean loves adding many complicated processes into each piece! He then goes on to stain, sand, and distress the concrete, adding to the sense of age and antiquity. Sometimes he will paint the back of the glass using translucent coatings to allow light to come through. He then welds up steel frames to finish off his work.

Finding Your Power

Glass, Concrete, Steel 42″x13″

Sean will be one of the artists exhibiting at DC’s Longview Gallery juried invitational exhibition showcasing the people and work of the artists of the Washington Glass School. The show opens in May.

Washington Glass School: The First 10 Years

LongView Gallery

1234 9th Street, NW, Washington, DC
May 19 – June 19, Opening Reception, May 19th, 6:30-8:30 PM

Click HERE to jump to Sean’s artwork website.


For other glass artist profiles:

Teddie Hathaway

Elizabeth Mears

Jeff Zimmer

Allegra Marquart

Jackie Greeves

Sean Hennessey Works In Plaster & Glass

>Studio Artist Sean Hennessey is shown here working on his series of cast glass and concrete panels.

Sean measures his glass and sketches his compositions.

Sean makes his panels using the dry plaster casting method, from float glass. He then renders the surface with other materials such as oxidized concrete and acid stains.

Sean creates a mold in the kilns

Sean’s glass and steel panels were one of the hits of the recent Artomatic.

The dry plaster technique that Sean uses is taught in the Washington Glass School class #928 – Bas Relief in Glass (taught by our Nicole Puzan). This class is starting soon – check it out! Click HERE to jump to the class schedule.