The Washington Glass Studio created shop drawings for each cast glass panel based on the original sculpture forms from the US Library of Congress Adams Building.
Sean Hennessey and Marie Schneggenburger
The Library of Congress had earlier this year commissioned sculptured glass doors as the famed institution provides much needed upgrades to the entry of the historic building. As mentioned in earlier postings, the Washington Glass Studio has been creating the artwork panels, collaborating with artists and artisans across the United States, from theatrical set designers to pioneers of the American Studio Glass Movement to make artwork worthy of an icon of the United States.
Washington Glass Studio’s Sean Hennessey works with Marie Schneggenburger and Erin Cumbo to take molds from the original bronze doors. After protection to all adjacent surfaces was in place, each the door bronze sculptures were cleaned and prepped for the mold taking process.
Marie Schneggenburger cleans and masks off the original bronze door sculptures.
The original moldings were sprayed with the silicone rubber matrix. The process took place in the summer of 2012, when the East Coast of the US experienced record high temperatures, and some modifications to the silicone process took place, with a step where we brushed on the material to ensure capture of the intricate detail from the originals. The crew started early each morning, to try and minimize their time in the sweltered sun.
The doors are ready for the mold matrix.
Sean Hennessey applies the silicone rubber with what looks like a prop from the movie “Ghostbusters”.
For a short flickr video of the mold-taking process at the Library of Congress doors – click on the arrow below:
After the molds and their “mother mold” material are removed from the doors, they are brought back to the studio for evaluation.
Tahmurath – the Persian hero – had some of the most complex undercuts that required additional molds of the deepest sections.
Detail from Tahmurath bronze sculpture.
The next step of the glass casting process involves one of the early fused glass pioneers – Ray Ahlgren. Ray Ahlgren’s Fireart Glass Studio in Portland, Oregon developed specialized techniques for the final firing of the cast and laminated panels.
Ray Ahlgren
Ray Ahlgren has been working with glass for over 40 years. He received a Bachelor’s Degree in Ceramics from the University of Wisconsin and a Master’s Degree in Fine Art in glass at the Art Institute of Chicago. Prior to starting Fireart Glass in 1980 he co-founded Bullseye Glass Company. In the early 1970’s the early Bullseye Glass Company made glasses for the stained glass trade. Founders Dan Schwoerer, Ray Ahlgren and Boyce Lundstrom worked on the problems that arose when melting this type of glass together in a kiln.
Ray Ahlgren and Dan Schwoerer in 1973.
That’s when they discovered incompatibility. To be successful, they then had to figure out how to test for it and get rid of it. The product they eventually developed was a glass that would be compatible with other glasses and withstand multiple firings without cracking during the cooling process. Kilnformed glass moved forward and developed glass into a leading sculpture medium. We were fortunate to be able to include Ray’s expertise and insight into the technical aspects, as well as his meticulous craftsmanship.
Using the silicone rubber molds, Ray made wax figures that were set as per the original mold, correcting any imperfections.
Tahmurath wax original is set up and dam for plaster is built around.
Plaster is then poured around the wax sculptures, and carefully brushed into voids to eliminate air pockets.
Ray Ahlgren details the plaster across the wax as Erwin Timmers looks on.
Ray fills the dam and levels the casting block.
After the plaster sets, the wax is removed from the casting mold, creating the void where the glass blanks will be melted into.
Inside the kilns, glass was fired into the plaster molds.
In November 2012, Erwin Timmers brought the Architect of the Capitol’s Library of Congress team to Fireart Glass studio to see the progress of the castings.
Ray Ahlgren removes a cast glass panel from the kiln.
Ray removes the plaster and explains process to LOC’s Yvonne Gurney.
One of the cast glass panels has the plaster rinsed off for review.
WGS’ Erwin Timmers points out details to Yvonne.
The completed panels were inspected as part of the LOC review.
The Library of Congress project continues on, with site work proceeding through the winter months. Parts of the refurbishment are not cosmetic, including installation of new electronics and security into the historic building. The install of the glass panels will happen in early 2013, and we will post new photos of that process, as well as some great process shots taken at Fireart Glass Studios.
Erin Antognoli mixes together steel, glass and imagery in her evocative sculptures.
Constructing Content brings together three artists from the Washington, DC area that explore the ways in which ideas are translated and transformed as artists move from one medium to another. Arriving at kiln-glass from diverse backgrounds, these crossover artists bring new concerns and techniques to the medium. Working at the Washington Glass School, Erin Antognoli, Sean Hennessey and Erwin Timmers are kindred spirits, and their 3 person show opens this weekend at the Delaplaine Arts Center in Maryland.
Sean Hennessey creates narrative cast glass panels.
“We are not in pursuit of the perfect object, or even, necessarily, beautiful objects.” explains painter and sculptor Sean Hennessey, “We are all driven by the narratives that we bring to our work. Our content drives and informs the imagery and the form. We treat glass like another artistic media, using it as an exploration of ideas”
Erin Antognoli, “Heading West To Find a Bridge”, detail.
“I made the switch to glass and steel sculpture after nearly two decades as a photographer,” explains photographer and sculptor Erin Antognoli, “doing anything by hand seems to have become a lost art. Therefore, as a challenge to the age of digitization, it seemed fitting to me to hand-work the physical sculpture by grinding the glass circles, welding the steel frames, and showcasing handwritten letters.”
Erwin Timmers explores ecological implications in his recycled glass sculpture.
Other artists, through kiln-glass, find a reinforcement of their artistic beliefs. “There is a directness, freedom, and honesty I feel working in glass,” says Washington Glass School co-founder, Erwin Timmers. “I’m not sure I felt quite the same way in my years of sculpting metal.” Erwin works with recycled glass, and environmental integrity informs his work. He feels that material and content are intertwined. “I believe there are no neutral materials,” explains Erwin, “I try to use materials for their intrinsic and philosophical content.”
Sean Hennessey, “Promise Locks” detail.
These artists, with work as diverse as their backgrounds, are brought together because their unique visions have helped build a new direction for glass sculpture.
The National Liberty Museum in Philadelphia, PA invites you to their Glass Weekend, Thursday, September 27– Sunday, September 30, 2012.
The itinerary for the weekend will include four days of fun visiting galleries, studios, private collections and national treasures. The museum will also honor five distinguished leaders in the glass art community at the Friday Night Awards Dinner: collectors Inna & Alex Friedman, collectors Shelby & Robert Ford and artist Therman Statom.
The headline event of the weekend will be the Liberty Museum’s huge Glass Auction on Saturday evening, September 29. They have assembled a prestigious collection of work representing the most renowned artists in the glass art world, as well as many promising newcomers.
Participants may choose to attend the entire weekend, which includes all meals, admission to all activities and transportation between activities; the Awards Dinner on Friday Night; or the Auction Gala on Saturday night.
Click HERE to jump to the Silent Auction artwork catalog. The Silent Auction items for the National Liberty Museum’s 2012 Glass Now! Auction Gala are now online for preview and advance bidding. If you find something you just MUST have, each work has a Buy It Now price, which will guarantee you win!
The Silent Preview/Online Bidding will close on September 27… if you wish to Proxy Bid after that date, please email Scott Patria at spatria@libertymuseum.org or call 215-925-2800 x 136.
For more information on how to register please call Stephanie Linat 215-925-2800 x 135
or email Stephanie@libertymuseum.org
Your participation helps the museum continue its work:preserving freedom and democracy by fostering good character and understanding for all people through education.The money raised helps the museum touch the lives of more than 30,000 young people each year. Join by Registering here.
In its fourth year, the Taos Art Glass Invitational makes New Mexico a prime destination that attracts artists, collectors and visitors from all around the world.
Friday September 14, 2012 at 2:00 PM through Sunday October 7, 2012
This year’s event includes multiple exhibitions, lectures, demonstrations and experiences that are collectively titled “Taos Celebrates Contemporary Glass: Fifty Years of Art Innovation”. The lead exhibition is the Taos Art Glass Invitational, a juried exhibition featuring the best in contemporary studio glass today.
The series of exhibitions, self-guided tours and educational events celebrates the unique contribution of the American Studio Glass Movement to the field of contemporary art.
Other special events include “Light up the Night,” September 28, from 7-10 p.m. when Taos Plaza will be lit with glassblowers at work. On Thursday, September 27, a live installation art project called “Recycling Light” will be created at Taos Institute for Glass Arts. A Collectors’ Tour will be held September 20-23. This celebration of glass is produced by TIGA (Taos Institute for Glass Arts).
>North Carolina’s Bender Gallery, located in the hip arts city of Asheville, will host an exhibition that will celebrate the diversity of glass as an artistic medium since the inception of the American Studio Glass Movement in 1962. New works made expressly for the exhibition along with work never before shown by thirty two regional and national as well as Canadian glass artists will be on display.
Erwin Timmers “Banding Together”
“Divergent Visions: Celebrating the 50th Anniversary of American Studio Glass” will showcase the various techniques of glass art inspired by each individual artist’s unique vision and interpretation. There will be an extensive variety of contemporary art glass on exhibit including delicate flame-worked sculpture; tactile kiln cast glass, hot formed glass pieces, gauzy pate de verre and glass “painting” with vitreous enamel.
The Bender Gallery will host an opening reception from 5-8 p.m. Thursday June 7, 2012.
Erwin Timmers “More or Less”
The “king of recycling” – ErwinTimmers‘ striking glass sculptures made from recycled glass are featured.
Janis Miltonberger “Between Worlds”
Also in the gallery are new flame-worked glass sculptures by Janis Miltenberger.
The Bender Gallery is located at 12 S Lexington Avenue in Asheville, North Carolina. The gallery is open Monday through Saturday from 10:30 am – 5 pm and Sunday from 12 pm – 5 pm. For inquiries call 828-505-8341.
Acts of Translation Between Art, Science, and Medicine
As mentioned in earlier post – Smith Center for Healing and the Arts has been host for SOFAlab – “Science of Art Laboratory” – created to initiate the spark of communication and to look for commonalities that can bring out new understanding and develop new tools of interactions from both the sciences and arts. The collaborative project created will be unveiled this coming Friday – at 7 pm.
SOFAlab Panelists: Caroline Wellbery, Medical Doctor, Associate Professor, Georgetown University, PhD in Comparative Literature
Erwin Timmers, Green Artist, MFA Design Arts and Architecture, Co-founder Washington Glass School
The panels intended to illuminate new ways of thinking by showcasing conversations that bridge the healing arts, environmental realities, neuro-sciences and collaborative networking in the creation of art; and conversely to examine effective new scientific and medical observations, answering questions about how art and science instruct and help one another in raising awareness about environmental responsibility in the area of health care.
Looking at the collaborative efforts of three teams of artists and scientists, the evening will unfold their various conversations and inquiries as they have worked together to explore new avenues of awareness.
The collaborative team led by Caroline Wellbery and Erwin Timmers considered medical waste and its environmental impact. By looking at areas of concern that mutually affect artists and healers, they have developed conversations and questions about how art and science instruct and help one another in raising awareness about environmental responsibility in the area of health care.
The panel is funded by George Mason University’s Center for Consciousness and Transformation and coordinated by Shanti Norris, Smith Center for Healing and the Arts; Paul So, Krasnow Institute for Advanced Study at George Mason University; Helen Frederick, School of Art, George Mason University; and Hamiltonian Gallery. Interns Alex Giller, Aaron Van Andel, Scott Jemielity and Erwin Thamm assisted the program in 2011-12.
Opens Friday, May 18, 7-9pm
SMITH CENTER FOR HEALING AND THE ARTS : community. creativity. cancer support.
1632 U Street, NW, Washington, DC 20009
Erwin Timmers finishes up the mounting of the collaborative artwork that deals with issues of medical waste.
Michael Janis’ narrative imagery made from crushed frit powder is the cover story in the May/June issue of Glass Art Magazine.
The May / June issue of Glass Art Magazine features a WGS two-fer, with a feature on the ecologically sustainable designs by the “King” of recycling, Erwin Timmers, AND a cover spread on the dreamlike glass panels by Michael Janis.
The Erwin Timmers’ review delves in depth into how Erwin makes sculpture from recycled and diverted waste materials .
“Working Green“, the article by Colleen Bryan, features the leader of the eco-art movement Erwin Timmers , and reviews his environmental philosophy and how Erwin practices his passion in his approach to his artwork and medium. Some great photos by Pete Duvall of Anything Photographic of Erwin’s beautiful glass sculpture work are showcased among the 5-page spread.
Glass Art Magazine Editor Shawn Waggoner writes about Michael Janis’ artwork in the latest issue.
In the cover article “Pushing Powder – Michael Janis’ Glass Frit Drawings“, editor Shawn Waggoner writes about how Michael Janis‘ imagery touches on the subconscious, and that his narrative glass artwork seems to ask questions rather than answer them. Her article also discusses how Michael was able to have his work became part of the US Art in Embassies permanent collection (now on exhibit in Europe), comments about his work from Corning Museum’s curator of Modern Glass, and Michael’s recent Fulbright Scholarship at the University of Sunderland, England, where, as a Fulbright Specialist, he was teaching at the UK’s National Glass Centre.
Click HERE to jump to the Glass Art Magazine website.
If you sign up as a subscriber to Glass Art Magazine – there are subscriber benefits – such as links to articles online on how Michael Janis’ and Tim Tate’s Fulbright Scholarship to the UK’s University of Sunderland worked out and more! Click HERE to jump to the online magazine.
The King of recycling – Erwin Timmers – heads off this week to Cincinnati’s Brazee Studio, where he will be giving an artist talk on his work on exhibit in the show “Another Man’s Treasure” currently at Gallery One One. The talk is scheduled for Saturday, April 28, 2012 from 5:00 pm.
Erwin Timmers’ use of recycled glass is featured in his Going Green class.
While in Cincinnati, Erwin will be teaching a class on using recycled glass – click HERE for more details of the classes held at Brazee Street Studios.
Cincinnati, Ohio, home of WKRP.
And of Cincinnati style chili (made with unusual seasonings such as cinnamon, cloves, allspice or chocolate. And served over spaghetti doused with shredded cheese.!)
Among the 121 artists on display this weekend at the 30th annual Smithsonian Craft Show, Erwin Timmers’ glass artwork made from recycled glass sparkle like gemstones.
Erwin (also known as the “KING of Recycling”) uses glass diverted from the waste stream as his main source of raw material for his creations. Environmental integrity may be the inspiration of his work, but the result is pure beauty. Erwin has said that his work looks to bring out the unseen qualities that are often overlooked.
Make sure you stop in at the KING of Recycling’s space at the Smithsonian Craft Show held at the NationalBuilding in Washington, DC.
Smithsonian Craft Show April 19 – 22, 2012 Erwin Timmers – Space 503 National Building Museum (Judiciary Sq. Metro – Red Line) 401 F Street, NW Washington, DC 20001
Erwin Timmers’ luminescent sculptural forms are made from glass diverted from the waste stream.
Our master of sustainable design, Erwin Timmers, is getting his glass balls polished and ready for display at the Smithsonian Craft Show. This show is the 30th Anniversary of what is often referred to as the premier juried show of fine American Craft Art, running April 19 – 22, 2012, with a Preview Night Benefit on Wednesday, April 18, 2012.
WUSA’s JC Hayward
Erwin will be interviewed by WUSA9 anchor JC Hayward. The two will be discussing the Smithsonian show held at the National Building Museum and how Erwin’s sculptural work references environmental issues. His interview will be during the 9 News Now At Noon (slotted between “The Price is Right” and “The Young and the Restless”)
We will post links once they appear online! Click Here to jump to the Smithsonian Craft Show website.
Smithsonian Craft Show April 18 – 22, 2012 Erwin Timmers – Space 503 National Building Museum (Judiciary Sq. Metro – Red Line) 401 F Street, NW Washington, DC 20001
