Artists Michael Janis and Tim Tate with their glass/mixed media artwork “The Common Thread”. photo byPete Duvall
This April, Washington Glass School Directors Michael Janis and Tim Tate are featured at Glass 54, Habatat Galleries’ International Contemporary Glass Invitational, held April 22–26 in Royal Oak, Michigan. Known for bringing together leading voices in contemporary glass, the exhibition offers a focused snapshot of where the medium is now—and where it’s heading.
At the heart of this year’s event is a special “show-within-the-show” spotlighting Janis and Tate, whose long-standing dialogue—spanning more than two decades of shared ideas, experimentation, and advocacy—comes into sharp focus through both their individual works and a new collaborative installation, The Common Thread. The piece reflects an ongoing exploration of connection: between artists, between narratives, and between material and meaning.
Detail of “The Common Thread” artwork by Michael Janis & Tim Tate.
For Michael Janis, the works on view mark a continued evolution of his distinctive visual language. Known for his masterful use of sgraffito (drawing with crushed glass frit) and layered glass imagery, Janis creates compositions that are at once graphic and deeply psychological. His figures—often distorted, fragmented, or caught in ambiguous gestures—inhabit charged spaces where identity, perception, and emotional tension intersect.
The new pieces presented at Glass 54 push further into this territory. Faces and bodies emerge through saturated color and bold contour, at times obscured or refracted through reflective and mirrored surfaces. Viewers may find themselves implicated in the work, their own image pulled into the composition—an echo of Janis’ ongoing interest in perception and the instability of truth. These works resist easy narrative, instead offering a kind of visual poetics: suggestive, uneasy, and quietly confrontational.
Tim Tate’s contributions, known for their integration of video, electronics, and sculptural glass forms, provide a compelling counterpoint. Where Janis leans into the psychological and painterly, Tate often engages time-based media and narrative structure, creating works that expand the boundaries of what glass can contain and communicate.
Everything Rises(2026) by artist Tim Tate. photo by Pete Duvall
Together, their collaboration The Common Thread becomes a synthesis of these approaches—a dialogue made tangible. The installation weaves together their shared histories and divergent practices, suggesting that connection is not about sameness, but about resonance across difference.
Presented within the larger context of Glass 54, this focused exhibition offers collectors, curators, and viewers a rare opportunity to experience both the individual strengths and the collaborative energy of two artists who have helped shape the trajectory of contemporary glass.
Curated by Alison Sigethy and produced by Veronica Szalus, “Eclipse” is an invitational sculpture show opening Jan 16th at the Athenaeum that examines light and shadow, liminal space, and the passage of time.
An exhibition titled “Eclipse” evokes themes of transformation, obscuration, revelation, and the interplay of light and shadow. The works of Washington Glass School artists Tim Tate, Erwin Timmers, and Michael Janis seems to fit so seamlessly into such a thematic framework, each offering a unique interpretation of these ideas through their distinct techniques and narratives.
Detail of Tim Tate’s work in the “Eclipse” exhibit
Tim Tate is known for combining traditional glass craft with modern video elements and digital media to create mixed-media sculptures that explore themes of memory, mortality, and the passage of time. His works often embody themes of transformation, obscuration, revelation, and the interplay of light and shadow. In this exhibition, Tate’s work symbolizes the moment of revelation that occurs during an eclipse, where hidden truths or forgotten histories come to light. His lenticular prisms that shift between imageries effectively capture the fleeting moment of an eclipse where light is temporarily blocked yet still visible in other forms. Said Tate: “In my lenticular series, I aim to capture the nature of memory and perception. By layering multiple images within a single lens, I create a sense of depth and dimensionality that shifts and changes as the viewer moves.”
Detail of Erwin Timmer’s cast recycled glass artwork featured in “Eclipse” exhibit.
Erwin Timmers is deeply committed to environmental sustainability, and his works crafted from recycled glass introduce a theme of renewal and regeneration within the “Eclipse” exhibition. Timmers uses discarded materials to create beautiful forms, highlighting the potential for transformation in the most unexpected places—much like an eclipse, which temporarily alters perception and understanding. His work often conveys a narrative of reclaiming what is cast aside, fitting well into the exhibition’s overarching theme of cycles of destruction and rebirth. Once destined for landfills, the recycled materials are reborn as testaments to the power of transformation and the importance of reexamining our relationship with the natural world. Timmers’ recycled glass sculptures also play with light, given the translucent nature of glass, adding a dynamic interplay of illumination and shadow. Said Timmers about his work in the Eclipse series: “I explore the intersection of environmental waste and beauty. By casting discarded materials into sensuous forms, I aim to reveal the beauty hidden within the discarded and the forgotten. As we stand at the edge of ecological crisis, I believe that art can serve as a catalyst for change, inspiring us to reimagine our place within the delicate balance of the ecosystem.”
Detail of Michael Janis’ “A New Dawn” glass artwork featured in “Eclipse” exhibit.
Michael Janis’ sgraffito glass portraits, which often explore identity, human emotion, and societal themes, align with the “Eclipse” theme by focusing on the layers of human experience and the partial obscuration of self. His technique of layering powdered glass to create complex imagery is akin to the way an eclipse gradually reveals or conceals—shadows and light playing across the surface, revealing deeper meanings. His works evoke the internal eclipses we face—moments where parts of ourselves or our histories are hidden or revealed depending on the perspective or light shed on them. Janis’ portraits also symbolize the personal and psychological aspects of an eclipse, dealing with identity, transformation, and the hidden aspects of the self that come to light.
Said Janis of his frit powder portraits: “Each element of my artwork serves as a kind of representation of the chaotic nature of human existence. By abstracting the realistic figures, I highlight the intricate layers that shape our identities, both internal and external. These divisions symbolize the diverse aspects of our personalities, experiences, and cultural influences that converge within a single being.”
Eclipse An Athenaeum Sculpture Invitational Curated by Alison Sigethy January 16, 2025 – February 23, 2025 Artist Reception: Friday, January 17, 6 – 8 pm Artist Talk: Sunday, February 23, 2 pm Participating artists: Michael Janis Lori Katz Mike Price Carol Prusa Sarah Hood Salomon Salih Zeki Sayar Murat Sener Michael Enn Sirvet Tim Tate Erwin Timmers Maduka Uduh
The Athenaeum is home to the Northern Virginia Fine Arts Association (NVFAA), an organization dedicated to the maintenance and preservation of the building and the celebration of regional arts. The Athenaeum Gallery 201 Prince Street, Alexandria, VA 22314
L-R: The Divided States of America; Trish Kent, Le Singe; Patricia de Poel Wilberg, Rejoice O Windup Bird; Kate Barfield, Twisting, John Henderson
Get ready to experience an artistic revolution and discover the future of sculpture. The Montpelier Arts Center of the M-NCPPC, Department of Parks and Recreation in Prince George’s County, proudly presents its 43rd annual invitational sculpture exhibition. Curated by Howard Cohen, this show, titled “Connections and Conversations” features the visionary talents of artists of the Washington Glass School, with a spotlight on the transformative medium of glass, where boundaries are pushed and traditions redefined.
Echoes; Michael Janis
Join us to see how these remarkable artists illuminate the diverse worlds we live in, using glass to spark conversations and create profound connections. This isn’t just an exhibit—it’s a vibrant conversation about our diverse world. Don’t miss this chance to see how glass can tell stories, bridge gaps, and ignite inspiration through community engagement and artistic innovation.
Don’t miss this chance for an unforgettable journey through art, innovation, and community and discover the endless possibilities of glass as a medium.
Connections and Conversations: Works by Artists from the Washington Glass School
Exhibition Dates: June 7 – July 28, 2024
Public Reception: June 7, 2024, 7 – 9 PM
Lunch and Lecture: June 14, 2024, 12 Noon (Reservations Required – Call 301-377-7800)
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.
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!
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.
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.
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.
“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.
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
The 2020 Prince George’s County Juried Exhibition:Symbiotic Presenceis installed at theBrentwood 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.
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.
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.
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
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.
“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.
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 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 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 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.
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!
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.
