Michael Janis on glass, public art, and 20 years in the Mt Rainier Gateway Arts District
Michael Janis is a contemporary glass artist and public art sculptor based in Washington, DC. He is a co-director of the Washington Glass School, an artist-run studio and educational center focused on contemporary glass practices.
In 2026, Washington Glass School marks 25 years since its founding and 20 years since establishing its home in Mount Rainier, Maryland. Janis became co-director of the school in 2005, shortly before the previous studio site in Washington, DC was taken through eminent domain for the development of Nationals Park.
Janis is known for narrative glass sculpture, community-engaged public art, and memorial projects addressing identity, memory, and social history. His work appears in permanent museum collections, including the Art Institute of Chicago, the Tacoma Museum of Glass, and the Museum of American Glass, among others. He has completed public art commissions for libraries, medical centers, and civic spaces throughout Washington, DC, the Mid-Atlantic region, and beyond.
We spoke with Michael Janis about the history of Washington Glass School, his studio practice, and the role of glass in public art and memorial projects.
Q: Washington Glass School is marking 25 years, with 20 years in Mt Rainier. What does this milestone represent for you?
Michael Janis:
The 25-year mark reflects the value of being anchored while continuing to adapt.
Washington Glass School began in 2000 in Washington, DC. I became co-director in 2005, shortly before the original studio site was taken through eminent domain for the construction of Nationals Park. Losing that space forced a reset. We relocated to Mt Rainier and rebuilt the school from the ground up.
The move to Mt Rainier came as we expanded education programs, developed public art work, and built long-term partnerships with artists and communities. Reaching 20 years in the Gateway Arts District shows the importance of stability for an arts organization after a period of displacement and transition.
Q: How did becoming co-director in 2005 shape the direction of the school?
Michael Janis:
Becoming co-director in 2005 placed me in a leadership role during a period of disruption.
The loss of the original DC studio meant the school had to redefine the business model, the student base, and the physical layout. We focused on building a tight and adaptable studio space, reworking class offerings, and creating a framework for contemporary glass practices.
From the start, we saw the school as both a teaching center and a working studio. That combined role became the basis for how we developed public art projects and community-based programs.
Q: What is the core mission of Washington Glass School today?
Michael Janis:
The core mission is supporting contemporary glass art through education, studio practice, and public art work.
We teach a wide range of glass techniques, including kilnforming, casting, and architectural glass. We also host artist talks, exhibitions, and workshops.
Another major part of the mission involves community engagement. We recently worked with military veterans through an arts therapy program developed by the Museum of Glass in Tacoma, Washington. We also work with local residents, students, and partner organizations to create glass components for public art projects placed in civic spaces.
Q: What kind of art do you make in your own practice?
Michael Janis:
I make narrative sculptural glass art.
My studio work focuses on figurative glass sculpture and relief panels. The work addresses identity, emotional presence, and social experience.
In public art, I design large-scale glass installations and memorials for civic spaces. Many of these projects include community participation, where local residents help create glass components that become part of the finished artwork.
Q: How does glass function in your public art and memorial projects?
Michael Janis:
Glass interacts with light, reflection, and transparency.
These qualities support narrative work in both studio and public art settings. In figurative sculpture, distortion and reflection suggest emotional states. In memorial projects, glass holds collective memory through light and color.
Glass also works well in civic architecture. It allows light to pass into buildings while carrying imagery and text.
Q: What are some examples of public art projects developed through Washington Glass School?
Michael Janis:
Washington Glass School has served as the studio base for a range of public art commissions.
Recent and ongoing projects include:
- A DC Ward 5 community-based glass memorial honoring the enslaved people who built the U.S. Capitol
- Glass and bronze sculpted artwork for the Library of Congress Adams Building Monumental Doors
- A large-scale glass installation for Laurel Library in Maryland
- A public art commission for Cedar Hill Regional Medical Center in Washington, DC
- A community-engaged glass project in Historic Kempsville, Virginia
Each project involved collaboration with architects, government agencies, and community members.
Q: Why is community participation central to your public art process?
Michael Janis:
Community participation changes the role of public art.
Local residents take part in creating glass tiles, panels, and imagery. These components become part of the finished artwork installed in shared spaces.
This process builds connection between people and the artwork. In memorial projects, participation also helps address historical and social topics through shared making rather than top-down design.
Q: Where can people see your work in public or in museum collections?
Michael Janis:
My work appears in permanent collections such as:
- The Art Institute of Chicago
- The Tacoma Museum of Glass
- The Fort Wayne Museum of Art
- The Fuller Craft Museum, Massachusetts
- The Museum of American Glass, New Jersey
Public installations appear at:
- The Library of Congress Adams Building
- Laurel Library, Maryland
- Cedar Hill Regional Medical Center, Washington, DC
- Community sites throughout Washington, DC
Q: What themes run through your work as a contemporary glass artist?
Michael Janis:
The main themes involve identity, memory, and emotional presence.
In the studio, I focus on figurative glass sculpture addressing psychological states and social relationships.
In public art, I focus on collective memory and historical narrative.
Across both areas, light and reflection create a relationship between the artwork and the viewer.
Q: How do you see the future role of Washington Glass School?
Michael Janis:
Washington Glass School will continue to support contemporary glass practices.
We will expand education programs, public art partnerships, and community-based projects. Many of the studio’s resident artists become instructors and contribute new workshop ideas.
The school will also remain a working studio for public art production and artist collaboration.
Q: What advice would you give to artists interested in glass and public art?
Michael Janis:
Develop a strong studio practice. Learn how to work with architects, engineers, and fabricators.
Understand public art as a long-term commitment to shared spaces and community needs.
For More About Michael Janis
Links:
[Michael Janis: Washington Glass Artist and Sgraffito Glass Art]
[Faculty & Staff | Washington Glass Studio]
[Michael Janis – Wikipedia]
[Public Art/ Monuments | Washington Glass Studio]
