Washington’s Innovative Glass Scene Seen at Artomatic 2024

trish kent, patricia de poel wilberg, nancy kronstadt, april shelford, graciela granek, kate barfield
Washington Glass School Co Founder Erwin Timmers outlines the Studio Glass Movement timeline to audience at Artomatic 2024.

In the 1960s, The American Studio Glass movement transformed glass from craft into fine art.

Artomatic helped create the movement, as after the 2000 Artomatic, the Smithsonian Museum acquired artist Tim Tate’s glass sculpture that was on display. Artist Erwin Timmers’ artwork was also on exhibit at that Artomatic, and after that show, the two began to collaborate, later teaming up to start the Washington Glass School & Studio with the funds from the sale of Tate’s glass artwork to the Renwick.

Washington Glass School Co-Founder Tim Tate’s work at Artomatic 2024.

In 2008, Artomatic organized an exhibit at the Washington Glass School, showcasing the unique approaches to glass sculpture in three “glass” cities: Washington, DC; Toledo, Ohio; and Sunderland, England, fostering international partnerships and collaborative ventures.

Glass works by VA-based artist Griffon Dillon on exhibit at Artomatic 2024.

As the 21st century unfolded, artists across various media have shown growing interest in glass as a creative medium, despite its technical challenges. The Washington Glass Scene has emerged as a hub of innovation, elevating glass to a significant position in contemporary art. The Washington Glass School encourages artists to push boundaries and redefine the possibilities of glass as a fine art medium.

There is a great example of works by DC glass creatives on display at Artomatic 2024, open now thru April 28th. Although the glass works are on many of the 8 floors of art, the 5th floor is the central spot to get ones glass fix. Some photos of Washington Glass School’s reception are featured in this post.

Glass artwork by artist Michael Janis seen at Artomatic 2024 on M Street.

The James Renwick Alliance will hold a craft tour of works on display at Artomatic 2024, March 24th, at 1-3PM More info here on the free tour: James Renwick Alliance Craft Tour – 5th Floor Washington Glass School Installation – Artomatic.

patricia de poel wilberg, kate barfield, april shelford
Curator Howard Cohen reviewing glass art on exhibit at Artomatic 2024.

Baltimore based art curator Howard Cohen came this past weekend to Artomatic to handpick glass artists from the DC area for a contemporary glass showcase exhibit at Montpelier Art Center this June. Howard was able to talk with many of the artists and get insight to their narratives and process. Looking forward to the upcoming show!

artomatic 2024

Artomatic, 2100 M Street NW, Washington, DC 20037

DC’s MLK Jr Library Features Washington Glass Studio on Public Art

View of Green Community Gateway by Washington Glass Studio

The District of Columbia Public Library (DCPL) is a dynamic source of information, programs, books and services, among them is their Makers Program, that includes a Fabrication Lab. The Martin Luther King, Jr. Memorial Library’s “Fab Lab”, complete with 3D printers, a laser cutter, soldering equipment, other machines is part of a new movement of public libraries embracing the “maker movement.” DCPL’s maker program is the largest of its kind in a public library, as they see the program as a force to bring together makers, artists, and creative people of all types and from all fields and backgrounds, encouraging cross-disciplinary cooperation. As part of the public engagement, the DCPL Makers & DIY Program is hosting a series of artists lectures at the newly refurbished MLK Memorial Library auditorium.

Image of Community workshop at Washington Glass School.

On Saturday, May 21, 2022, from 1:00pm – 2:00pm, Michael Janis, co-director of the Washington Glass School, will give a lecture on how the Washington Glass Studio created the “Green Community Gateway” with art made with the help of the community in Ward 7.

The “Green Community Gateway”, public art sculpture marks the symbolic entrance to the Kenilworth/Parkside section of DC’s Ward 7. Through a series of glass “quilting bees”, Washington Glass Studio brought together neighborhood residents, students of the high school, and the staff of the newly constructed Unity Healthcare facility to make glass art that would become an integral part of the arch.

This lecture program will take place in the auditorium at the Martin Luther King Jr. Memorial Library, 901 G St. NW, Washington, DC 20001. Register at bit.ly/labsclasses

The renovated Martin Luther King Jr. Memorial Library in Washington, DC, originally designed by Mies van der Rohe, the landmark library was rejuvenated by Mecanoo and OTJ Architects.

Washington (State) Museum of Glass Showcases Washington (DC) Glass School Directors

Sculptures by each of the Washington Glass School Directors – Tim Tate, Erwin Timmers and Michael Janis- were acquired for the permanent collection of the Tacoma Museum of Glass (MOG).

Michael Janis, “Healing Words” 2009, kilnformed glass, glass powder imagery, 37″ x 19″ x 2″, Collection Museum of Glass.

A long-time Museum of Glass Trustee, Potomac, MD-based glass-art collector Robert Minkoff selected MOG to house his art collection before passing away in September 2020. Developed through decades of patronage and philanthropy, the collection celebrates the incredible diversity of glass art and its possibilities in the field of contemporary art.  With the addition of Robert Minkoff’s personal collection, the Museum’s glass holdings are now the largest in the Western United States.

The artworks by the Washington Glass School artists will be part of a yearlong exhibit Boundless Curiosity: A Journey with Robert Minkoff, opening April 2, 2022.

Organized by Museum of Glass and curated by Katie Buckingham, ‘Boundless Curiosity’ follows Minkoff’s love of glass and tells vibrant stories of glass’s evolution from a studio craft material. “The Minkoff Collection is a transformational gift to the Museum” said curator Katie Buckingham. “We are excited about the opportunity to widen the story of glass art and show compelling narrative sculptural work”.

MOG’s contemporary glass collection concentrates on how medium of glass interacts with modern day art. Citing “glass secessionism” (as defined by Tim Tate and William Warmus in their “21st Century Glass Conversations and Images” online group) there is a movement in glass art away from “technique” towards “artistic vision” and concept. Said Curator Buckingham “we all look forward to including the artworks by the Washington Glass School directors – the 3 Musketeers of Glass.”

Washington Glass School artists Erwin Timmers, Tim Tate and Michael Janis (aka aka- Athos, Porthos and Aramis)

Works by noted glass artists Dale Chihuly, Lino Tagliapietra, Debora Moore, Therman Statom, Amber Cowan, Susan Taylor Glasgow, Shane Ferro, Paul Stankard, and Laura Donefer round out the exhibit in the main gallery of the Museum. The Minkoff collection exhibition will kick off the Glass Art Society (GAS) 2022 international conference held in Tacoma, WA this May.

About Museum of Glass

Located in Tacoma, Washington, Museum of Glass is a premier contemporary art museum dedicated to glass and glassmaking in the West Coast’s largest and most active museum glass studio. Opened in 2002, the Museum has established a reputation for hosting impactful and engaging artist residencies, organizing nationally traveling exhibitions, and creating unique programs for visitors while building a growing permanent collection chronicling the development of modern and contemporary glass. 

Museum of Glass provides an environment for artists and the public to ignite creativity, fuel discovery, and enrich their lives through glass and glassmaking. MOG’s glass holdings are now the largest in the Western United States.

BOUNDLESS CURIOSITY: A JOURNEY WITH ROBERT MINKOFF

Opening April 2, 2022 thru 2023

Museum of Glass, 1801 Dock Street, Tacoma, WA 98402

www.museumofglass.org

The Process: Public Art – “Essential Connections” in Arlington, VA

“Essential Connections” by Washington Glass Studio, 18’L x 4’H, cast glass, LED. 2021

The Process: Public Art – “Essential Connections”
Washington Glass Studio (WGS) –J-Sol Apartment Complex, 4000 Fairfax Drive, Arlington, VA

Daytime view of “Essential Connections” sculpture in Arlington, VA.

Jefferson Apartment Group with Mitsui Fudosan America developed the Arlington, VA corner site formerly home to the sports bar CarPool into a 22-story, LEED Gold-certified high-rise called J-Sol, with residential units atop ground-floor retail and parking. Working with Toronto, Canada art consultant Oni-One Sourcing owner Paula Fleck, the preliminary designs were initiated in April of 2019, well before the pandemic lockdowns. Different concepts for both design and location of artwork to enhance the new J-Sol residential development were presented to the client.

Original concept sketch
Erwin Timmers and Michael Janis review the structural steel.


Framing the corner location of the new plaza at Fairfax Drive and North Quincy St. in Arlington, VA, the sculpture is made of almost 100 individual hand cast glass panels set into a bold geometric framework of acute angles that references the sculptural qualities of the new J-Sol building. The sculpture defines the location and creates a new sense of place with the layering of color, light and shadow. Merging architecture and design with their signature material, glass, the overall presentation of the sculpture is aimed to reflect our modern society and urban space.

Meticulously fitting glass into framework.

The varieties of techniques and layers of colors provide complex visual experiences is part of the works’ aesthetic pleasure.

Public art detail
An exploration of color, texture and pattern overlay.

The inspiration for the Arlington public artwork, “Essential Connections” is how much our world has changed. The artwork draws inspiration from our attempt to find new and innovative ways to reach out and connect with each other.

Night view of “Essential Connections” sculpture by Washington Glass Studio.

As WGS Co-Director Tim Tate noted of the work: “…Our goal was to create something memorable out of daily patterns of coming and going home.” The rainbow mix of colors – each a strength unto itself – is much more powerful in combined with others. The color palette itself references nature in its yellows, blues and greens, the sun, the water and sky, the grass and trees. Stylized elements of nature will be incorporated into several the crafted glass panels – emphasizing our renewed awareness of our environment.

The colors and patterns define this public space in Arlington, VA.

The artwork’s dynamic shape forms a translucent cornerstone of sorts – inviting all into the plaza for walking, sitting, and all manner of activities conducted in the park. The new artwork help create a place for people to enjoy, feel connected and remember. Using the timeless fundamentals of light and color to define the space we made a vibrant backdrop to define the area with exuberance and life.

The public response has been immediate – during installation many passerbys came up excitedly to the sculpture – wanting to take “selfie shots” at Arlington’s newest landmark.

The artworks’ youngest fan points out their favorite glass panel inset.
DC art enthusiast Anthony Adero strikes a casual pose at the new sculpture.

Project Details:

Location: 4000 Fairfax Dr, Arlington, VA 22203 (N Quincy St & Fairfax Dr)
Washington Glass Studio Public Art Team: Michael Janis, Tim Tate, Erwin Timmers, Christina Helowicz.

Erwin Timmers and Christina Helowicz the sculpture’s internal LED lighting.

Structural Steel: Criss Brothers
Number of Glass Tile Insets: 97

WGS installation team L-R: Michael Janis, Ryan Henderson, Christina Helowicz, Erwin Timmers

2020 Prince George’s County Juried Exhibition: Symbiotic Presence

2020.Prince.Georges.County.Juried.Exhibition.art.visual.glass.wgs.washington.school.contemporary.new.sculpture.media.mixed.DC

The 2020 Prince George’s County Juried Exhibition: Symbiotic Presence is installed at the Brentwood Arts Exchange. A diverse array of works from glass sculpture, to painting, to video art represents this year’s theme of the strength and willpower of artists, bringing people together to help heal fractured communities.

View of Brentwoood Arts Exchange installation of Symbiotic Presence.

View of Brentwoood Arts Exchange installation of Symbiotic Presence.

Maryland’s Prince George’s County artists will tell their stories and explore our community relationships in this year’s county juried exhibition, featuring work from thirty-two local artists. 

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Erwin Timmers’ cast recycled glass sculpture “One Another” is featured in the exhibit. Works by four Washington Glass School artists are exhibited.

This exhibition was juried by Shanti Norris. The Prince George’s County Juried exhibition is sponsored by The Maryland-National Capital Park and Planning Commission (M-NCPPC), Department of Parks and Recreation, Prince George’s County, Arts and Cultural Heritage Division. This exhibition will be physically installed at Brentwood Arts Exchange Main Gallery and presented digitally for online viewing.

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Virtual Gallery Tour and Artist Talk via Facebook Live: Saturday, January 9 at 2 pm

November 9, 2020 – January 9, 2021

A video walk-thru is online – click on link below to jump to video

2020 Prince George’s County Juried Exhibition:Symbiotic Presence

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: 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.

WGS Featured Artist: Sean Donlon

CLICK IT! Featured Artist: Sean Donlon

Sean Donlon has been drawn to the challenges of glass manipulation. Sean earned his Bachelor of Fine Arts in Craft and Material Studies at Virginia Commonwealth University in 2012. He has traveled all over the United States and internationally to Lauscha, Germany and Murano, Italy to study lost glass techniques and to work with other glass artists. Among his distinguished honors, Sean has been the recipient of the Virginia Museum of Fine Arts fellowship, was awarded Craft + Design’s Best in Show, and was recently featured in American Craft Magazine. Sean’s work has been exhibited in the Virginia Museum of Contemporary Art, Houston Center for Contemporary Craft, and the Chrysler Museum. He is currently living and working in Richmond, VA.

Sean Donlon

Sean Donlon

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

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

Sean Donlon: I use flameworking, a glassblowing technique, to create these teapots. Within the manipulation of glass and fire a unique vessel is born.

Sean Donlon, "Tantric Tea Time"; glass / mixed media

Sean Donlon, “Tantric Tea Time“; glass / mixed media

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

Sean Donlon: We are surrounded daily by functional objects; beauty everywhere is easily overlooked when it is hidden in plain view. Becoming obsessed with this practical object turned into an opportunity to make sense of the world.

The teapot became a symbol in my eyes, one that could be recognized by all people. Throughout history teapots have been used as a canvas for expression through its maker or utilizer. This makes the teapot a greater symbol – one that can connect everyone on the principle of taking a moment to wind down, interact, tell stories, or internally reflect.

This inanimate object becomes vibrant and alive when juxtaposed in a foreign environment; every teapot manifests its own personality in these installations. Reflecting light off of each other and playing with their environment, these teapots, in every viewing angle become their own story. 

WGS: How have you handled the Covid lockdown?

Sean Donlon: It has been difficult, and a storm of emotions. I have family who is going through treatment for a terminal cancer and covid isn’t making that experience any easier.

I run a shared studio space with other artists, and it has been a big change. In the pace of the workplace, and to make sure everyone is on the same page in our adapting to this pandemic.  Safety has always been our top priority, I was very excited to see how everyone came together to make things operate smoothly.  It hasn’t been easy, but I have realized so many small things I love about life. Between the sound of water pouring on coffee beans for cold brew, and how light can change so much in a few seconds throughout the day.  Its made me so grateful to be able to reconnect with the world around me again.

I was thinking there would be a large flow of creative energy, but it has actually been hit and miss.  Its made my work slow down but in a great way.  New work from this is in the works and I am excited to share it when its ready… but its kind of hush hush till then.   

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

Sean Donlon: I discovered glass when I was working as a tire installer.  I had a car dropped when I was working on it and almost lost my hands and it was that day, I decided to switch to glass full time… I wanted to keep using my hands to create art and have not looked back since that decision.

Sean Donlon's surreal teapots.

Sean Donlon’s surreal teapots.

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

Sean Donlon: Much of the planning starts with the concept and design.  Then trying to figure out what tools to make is important to each piece.  Everything gets a custom-made component to make the mounting and shaping seamless.  Then the raw fun starts.  When doing the hot glass part, it is planned – but then I do allow room to have the natural avenue of chance and error to come into play!

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

Sean Donlon: (When the hot glue is dry… JK). I wish this was an easy answer but its not.  I often know when I am working the glass on the torch when its done.  There will be this moment where it just speaks to me in a way that i see if i change anything else it’ll be too much or throw off the balance of the piece.  Once this is done I still have to install and mirror the work so its still a long process after the glass is made.

My rule of thumb is when the work has the right gesture, narrative, flow, and I am happy with it.  I won’t let something out that I am not please with, and it takes failed works to make the great ones.

 

Click here to jump to Sean Donlon’s work in CLICK-IT!