Virginia Athenaeum Sculpture Invitational features WGS Directors

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

Winter Open Studio Is Coming!

Winter Open Studios Set for Dec 14th! Mark Your Calendars!

Join us in the DC region’s largest one-day visual arts event! On Saturday, Dec. 14th, from Noon til 5PM, Washington Glass School and its Resident Artists, Teachers and Students will participate in the Winter Open Studios! See what we’ve been up to!
Come visit hundreds of working artist studios in the Gateway Arts District, along Route 1 from the DC line/ Mount Rainier up to Hyattsville, MD.

December Holiday Open Studio Gateway Arts District DC Maryland
Washington Glass School 3700 Otis Street, MD Rainier, MD

National Guard At Post For President-Elect Biden Inauguration

National Guard Soldiers stand guard at the John Adams Building, Library of Congress, Washington, D.C. National Guard Soldiers and Airmen have traveled to the National Capital Region to provide support leading up to the 59th Presidential Inauguration. (photo: Tech. Sgt. Lucretia Cunningham)

National Guard Soldiers stand guard at the John Adams Building, Library of Congress, Washington, D.C. National Guard Soldiers and Airmen have traveled to the National Capital Region to provide support leading up to the 59th Presidential Inauguration. (photo: Tech. Sgt. Lucretia Cunningham)

15,000 National Guard troops are now in DC for the scheduled Jan. 20 inauguration of President-elect Joe Biden. But with so many troops in a city that has become a maze of black fencing, cement barriers and dozens of checkpoints, there is an eerie calm in Washington DC, ahead of a feared storm of supporters of President Donald Trump, who don’t believe their candidate lost and are willing to continue the violence.

Photos of the Guard protecting the Library of Congress Adams Building shows the soldiers in front of the cast glass panels made by Washington Glass Studio with Portland’s Fireart Studio. Click Here to jump to the 2012 American Craft interview and photos of the cast glass made and the process to make the architectural artwork.

We are happy that  the military is taking no chances with who was coming to protect the inauguration.

On a normal day, it takes about an hour to walk the 2.5 miles down Pennsylvania Avenue to Capitol Hill.

But these are no normal days. 

These precautions come a week after a mob of supporters of Trump stormed the U.S. Capitol to try to overturn the results of the presidential election. 

Sean Hennessey at GooDBuddY Gallery

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Sean Hennessey, “Pool of Tears” detail, kilncast glass, paint, integrated video. 24″x12″

For the last few months, sculptor Sean Hennessey been working on a series of pieces for a solo show – Reimagining Alice: A MixedMultimedia Series Based On Alice In Wonderland.

Sean Hennessey creates sculptures in glass and concrete that are narratives based on mythologies, religions, personal experiences and whimsy. By using imagery of common and slightly nostalgic items Hennessey tells narratives of hopes and dreams, and of memories and transformations. 

Sean Hennessey,  “Killing Time and Times Revenge” (detail and full image), glass, concrete, found objects, paint, wood, integrated video components

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.

Sean Hennessey reviews the cast glass panel fresh out of the kiln. After the annealed panel cools, Sean works the panel with concrete and paints.

Hennessey’s sculptures are kiln formed slump cast glass panels that he trowels and paints with concrete and stains. His works have a feeling of relics, of archeology, and of the study of the past.

Sean Hennessey “The Tweedles” (detail) kilncast glass, paint, EL panel lighting.
24″ x 12″

Said Hennessey of the new works being installed his solo show “I wanted to start with the fun, absurdist, creative stories of Lewis Carroll’s tale, using my own imagery, visual language and loose interpretations, riddled with a personal take on metaphors and combine that with materials I have been using and with materials that are very new to me. The desire to include video and lighting in my work was the original impetus for this project”. 

Sean Hennessey “Finding The Right Key” (detail) kilnfired glass, concrete, paint, EL panel lighting.

 “I equate the concrete with the realities of earth, and life, and the shell that we use to protect ourselves from exposing our soul to the world” Hennessey said his use of unusual medias not normally associated with fine art.I‘ve been combining glass, paint, steel, wood, concrete, found objects, stencils,  LED’s, electroluminescent lighting (EL) and video. All the fun stuff.”

Sean Hennessey, “Pool of Tears” (with image detail), kilncast glass, paint, steel, wood, integrated video component

The series was funded, in part, from a grant Hennessey received from the District of Columbia’s Commission on the Arts and Humanitiesand will be hosted by the architecture firm Weibenson and Dorman in the 410 Goodbuddy Gallery.

Hennessey is one of the artists involved in the renovation of the entry doors of the Library of Congress’ Adams Buildingby the Architect of the Capitol, now under production. One of the East Coast’s leading mold makers, Hennessey has been taking castings of the landmark’s historic bronze doors as part of the process in translating the relief sculptures into cast glass for the building entry.

Sean Hennessey, “Drink Me” (detail)

Sean Hennessey: Reimagining Alice

A MixedMultimedia Series Based On Alice In Wonderland
September 28th – October 26, 2012

Opening Reception Friday, September 28th, from 5-8 PM

410 GooDBuddY Gallery

410 Florida Avenue, NW, Washington, DC

410 GooDBuddY is an exhibition space can that can be used by a single artist to exhibit their works. It is within the FRINJ neighborhood of Washington, DC, and is partially provided by Wiebenson & Dorman Architects whose studio is located in the same building.

Glass Signage Marks The Way

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Earlier in the year our blog documented the cast glass samples being trialed for the signage that would be mounted over the front door at the Washington Glass School.

After months of testing, dithering, and distractions, we have finally installed the entry signage. Made of kilncast float (window) glass, the signage panels are very simple and straightforward in design – intended to give a more formal presence to the (very) industrial nature of the building complex. The bas-relief letters emerge through textures made from recycled glass elements (broken glass, glass shard edges) and catch the light.

Be sure to check out the signage this weekend at the big open studio event!