WGS Featured Artist: Jason Chakravarty

CLICK IT! Featured Artist: Jason Chakravarty

Jason Chakravarty is a mixed media artist based in Arizona. He worked for four years in a commercial neon sign shop before earning his MFA from California State University-Fullerton. He teaches neon and kiln casting workshops at universities and glass centers nationwide, and exhibits his work nationally.

Jason Chakravarty, together with Jennifer Caldwell have made many collaborative pieces, maintaining a critical, conceptual, and technical dialogue thru their work. Jennifer best known for her flame worked glass compositions and Jason’s technical focus is cast glass objects which often include parts or techniques from the hot shop. He uses familiar photorealistic imagery that ranges from sea to space. The narrative is the starting point and is a response to daily life and cultural observations.

Their work has been exhibited in museums including Corning Museum of Glass and Tacoma Museum of Glass, at SOFA Chicago.

Jennifer Caldwell and Jason Chakravarty

Jennifer Caldwell and Jason Chakravarty

Washington Glass School blog catches up with Jason as his work is part of the WGS Contemporary online exhibit “CLICK-IT!” and the associated show “Artists for Racial Justice

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

Jason Chakravarty: Our process begins with a need to illuminate an idea. Ideas come from our surroundings, travels (or lack of in 2020), experiences, written stories, or even just captured moments. Glass presents the only medium with endless possibilities. We cast, blow, sculpt, paint, slump, fuse, carve, light it up and cut it. Glass can be made thick, thin, transparent, and opaque. To explain a single process would ignore the way we work. 

Jason Chakravarty and Jennifer Caldwell, "Bee-nounced"; cast murrini with flameworked components.

Jason Chakravarty and Jennifer Caldwell, “Bee-nounced”; cast murrini with flameworked components.

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

Jason Chakravarty: For Click It, we were lucky to include works that span over the past decade. The most recent being ‘Beenounced‘. This piece highlights the delicacy of Jennifer’s flame worked bee and honey living amongst a random and repeating hexagon honeycomb pattern. Each leg and wing is sculpted by hand, while a more machine-like process for the hexagon can be compared to a sushi roll. Long pulls of clear glass coated with yellow or black cut up, organized on end and cast to make a larger hexagon home.

Jason Chakravarty and Jennifer Caldwell, "Woken Inna Space Without Sound"; sculpted/blown glass/mixed media

Jason Chakravarty and Jennifer Caldwell, “Woken Inna Space Without Sound”; sculpted/blown glass/mixed media

On the other end of the timeline spectrum, ‘Woken Inna Space Without Sound‘ was entirely made using the hot shop. A small paperweight was created and cooled, butterfly and bee decals were applied to the surface. The paperweight was then heated, more clear glass was added and the glass cooled again. Add additional decals and repeat. Each layer requires a couple days. Once all the layers were built the glass was reheated again, shaped and sculpted into a half moon with craters. Layers of transparent and opaque gray, white and opal color were added to the surface and then cooled. The butterfly net was hand blown separately.

Discussing one last piece. “Catch and Release. The lock is cast glass and was purchased in Tel Aviv on a trip to teach in Jerusalem. At the time it felt like an ancient relic that we had found in an old mud hut and bought from a man that was nearing the end of a long and nonmonetary rich life. The fence referenced a fence that ran along the walkway to a bridge in Seattle that we would use when boarding/unboarding the ferry. The fence itself is created by hand using a torch and then assembled cold and held tight in a frame like a puzzle.

WGS: How have you handled the Covid lockdown?

Jason Chakravarty: It feels like we are working on the same path as a year ago. The demand for our work has shifted but not slowed down. While we are busy, the silver lining has been that all the anxiety has subsided. Deadlines are on ‘island time’ more like a suggestion vs an absolute. While too much to list has changed we are still consistently working. Every day is still a great day to add something better to the world.

Jason Chakravarty and Jennifer Caldwell; "Weeding Out"; cast/fused glass, steel.

Jason Chakravarty and Jennifer Caldwell; “Weeding Out”; cast/fused glass, steel.

WGS: What artwork/event has moved you and got you thinking about your own work?

Jason Chakravarty: Typically travel and life experience write the story for our work and fill our sketch books. It feels like we are now able to resolve some of the ideas that have been sitting or on hold. So I would say the ‘lack of event’ has us thinking more about how we work and the actual work and less focused on the excitement that comes with new ideas.

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

Jason Chakravarty: Fred Flintstone.

The artist formerly known as Jason Chakravarty.

The artist formerly known as Jason Chakravarty. Yabba.Dabba.Do.

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

Jason Chakravarty: We start with a plan and embrace all the changes along the way. Our work is very process orientated. Many steps using many techniques. Each would have to be perfect to reach our original plan. Nothing is ever perfect. Even our view of the narrative shifts with time, day, and week.

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

Jason Chakravarty: Each piece we make starts with a narrative. Our goal within a narrative is to raise questions vs provide answers. A piece is resolved when the question is asked.

Click HERE to jump to Jason Charavarty and Jennifer Caldwell’s work in CLICK-IT!

And see their work as part of “Artists For Racial Justice” – click HERE.

Read about Jennifer Caldwell – the other half of JC2   -click HERE.

A Bit of A Tease

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Next month, the LongView Gallery will present : “Artists of the Washington Glass School – The First Ten Years“. In bringing The First Ten Years to Washington, DC, LongView Gallery asks artists and audience alike to cast aside traditional notions of glass art and participate in a new form of dialogue; one that looks to the future and not the past. This exhibition is still in the process of being curated by the gallery, but one of the works submitted is so amazing, below is a sneak peak of the show.

Elizabeth Ryland Mears and William “Tex” Forrest have created a collaborative sculpture piece. The illuminated work is over 6′ tall, made of flameworked glass, steel wire & fabric.


Liz Mears & Tex Forrest’ design sketch

Full-size sample

Liz & Tex at the glass school for a photo shoot of the finished sculpture

Elizabeth Mears shows the tactile detail of the glass….”embellishments”

The finished work – photography by Anything Photographic.
Detail of the lampworked glass

The First Ten Years is intended to celebrate – and instigate– the new directions contemporary glass is exploring through various artistic metaphors. Featured artists include: Tim Tate, Michael Janis, Erwin Timmers, Elizabeth Mears, Syl Mathis, Lea Topping, Robert Kincheloe and others.

Washington Glass School: The First 10 Years

LongView Gallery

1234 9th Street, NW, Washington, DC
May 19 – June 19,2011

Artist Reception, May 19th, 6:30-8:30 PM

New Flamework Class Schedule

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Now that Spring has sprung – its time to get busy! Below are the new Spring/Summer Torchworking class offerings –

Class 1108 – Flamework Club – Open Studio For Flameworkers
Already know the basics of flameworking? Want to join others in a social atmosphere while you work? Our Flamework Club gives each student the opportunity to work independently in a world class studio while meeting some great new friends! Materials extra. Class Limit: 6 students
Instructor : Robert Kincheloe
Dates : Sat/Sun afternoons (call to confirm appointment)
Time : 1:30pm to 5pm
Tuition : $300 for 4 sessions (or included with instructor classes)

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Class 1109 – Flameworkers Weekend Workshop

Develop your sculptural voice through working with glass at the bench torch. This 2-day workshop will focus on advancing your individual skills while allowing you to work on your own personal sculptural projects. In this free-form workshop the participants will be able to not only learn techniques necessary to accomplish their personal projects, but also be able to learn the techniques required by others. The materials fee provides student with an initial pack of glass, fuel for the torches and the loan of a full set of hand tools. Additional glass and supplies are available for purchase as the class progresses. This is a fun way to reinforce your skills while working with other great artists! Class Limit: 6 students
Instructor : Robert Kincheloe
Dates : Session A Sat/Sun April 23 & 24

Session B Sat/Sun May 28 & 29

Session C Sat/Sun June 25 & 26

Time : 11 am – 5pm
Tuition : $250 +$50 material fee (pay material fee to instructor in class)

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Class 1110 – Beginning Sculptural Flameworking
Learn the basics of making objects in the flame from borosilicate (Pyrex) glass. This 2-day class will focus on skills that are the basis of working with glass on the torch. You will come away with knowledge and some fine objects too! Rob is an energetic, knowledgeable instructor and artist who is ready and willing to help anyone learn this fascinating art form. The materials fee provides student with initial pack of glass, fuel for the torches and the loan of a full set of hand tools. Additional glass and supplies are available for purchase as the class progresses. Take this class more than once to reinforce your skills! Class Limit: 6 students
Instructor : Robert Kincheloe
Dates : Sat/Sun May 21 & 22
Time : 10 am – 1pm (the 1:30pm
to 5pm open lampwork studio directly following the class is free to any class member)
Tuition : $250 +$50 material fee (pay material fee to instructor in class)

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Class 1111 – Coldworking 101 – How to Grind and Polish


Learn how to incorporate coldworking techniques into your glass art. This 1-day class will focus on skills that are the basis of coldworking glass on the flat lap grinder. You will come away with knowledge and the ability to work safely and effectively with coldworking equipment! Robert will explain and demonstrate how the various pieces of equipment in the studio are used so that the students gain familiarity with what tools are available and how they can be properly utilized for glass art. The materials fee provides student with several “Blank” forms that they can use to practice these techniques. Students are also encouraged to bring small glass items that are less than 2″ in surface are to experiment with. Class Limit: 8 students
Instructor : Robert Kincheloe

Dates : Sat May 7
Time : 1pm to 5pm
Tuition : $130 +$20 material fee (pay material fee to instructor in class)

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PayPal WGS Spring/Summer 2011 Flamework Class Registration

Scroll down & Click on class listing


New Lampwork Class Schedule

>The New Winter Schedule for the Lampwork Concentrations is now online! – Have a squiz!

Class 1048 – Borosilicate CastingLearn to cast components for use in Flameworked Sculpture

Learn the process of borosilicate glass casting for component assembly in Flameworked sculpture. Students will review the process of casting as it relates to borosilicate glass. Once cast the component elements will then be flameworked into sculptural works of art. Come learn the process and develop your skills in this one of a kind class!

In this 4 day class students will make rubber molds of various items, review “lost wax casting” process, discuss firing schedules for casting borosilicate glass, practice coldworking processes to clean up the cast elements, and learn how to assemble numerous components at the bench torch for creating flameworked sculpture.

Day 1 – Class overview, Project Discussion, Rubber Mold Creation

Day 2 – Rubber mold prep, Wax and plaster investment, casting schedule and color discussion

Day 3 – Divestment and coldworking of components

Day 4 – Flameworking components into final sculpture

Instructor: Rob Kincheloe

Dates: Sat/Sun, Jan 22 & 23 and 29 & 30

Time: 10am to 1pm (the 1:30pm to 5pm open studio session directly following this class is free to any class member)

Tuition : $500 plus $100 material fee. (Pay material fees to instructor in class)


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Class 1049 – Beginning Sculptural Flameworking


Learn the basics of making objects in the flame from borosilicate (Pyrex) glass. This 2-day class will focus on skills that are the basis of working with glass on the torch. You will come away with knowledge and some fine objects too! Rob is an energetic, knowledgeable instructor and artist who is ready and willing to help anyone learn this fascinating art form. The materials fee provides student with initial pack of glass, fuel for the torches and the loan of a full set of hand tools. Additional glass and supplies are available for purchase as the class progresses. Take this class more than once to reinforce your skills! Class Limit: 6 students

Dates: This class will be offered 2 times this semester

Session 1049A – Sat/Sun Feb 5 & 6

Session 1049B – Sat/Sun Feb 26 & 27

Time: 10am to 1pm (the 1:30pm to 5pm open studio session directly following this class is free to any class member)

Tuition : $250 plus $50 material fee (Pay material fees to instructor in class)

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Class 1050 – Glass BeadmakingDeveloping Your Style

Glass beads have been objects of adornment for thousands of years, and are experiencing a popular revival. We will begin the class with a technical exploration of various foundation techniques essential to the success of all beadmakers and then progress to color, types of glass and ways of utilizing the properties of the medium. Whether as a component of a necklace or alone as a pendant, glass beads can also be an element of creative expression. Together we will begin a conversation about forms of jewelry, finding your palette and individual style.Class Limit: 6 students

Instructor : Clare J. Nykolyszyn

Dates : Sat/Sun March 19 & 20

Time : 10am to 1pm

Tuition : $250 plus $50 for materials (Pay material fees to instructor in class)

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Class 1051 – Flamework ClubOpen Studio For Flameworkers


Already know the basics of flameworking? Want to join others in a social atmosphere while you work? Our Flamework Club gives each student the opportunity to work independently in a world class studio while meeting some great new friends! Materials extra.Class Limit: 6 students

Instructor : Robert Kincheloe

Dates : Sat / Sun afternoons (call to confirm appointment)

Time : 1:30pm to 5pm

Tuition : $300 for 4 sessions or included with Instructor Classes

Michael Mangiafico Flamework Workshop

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Michael Mangiafico works thru the detailed steps to create incredibly articulated lampworked sculpture.

Michael Mangiafico (aka ‘Fig’) has been working thru an awesome workshop at the Washington Glass School this weekend, taking students on a journey thru the insect world, working with them to make glass bugs.

Fig shows how to do an ant right.

Soon glass ants are everywhere!

And they became unintentionally irradiated and thus become THEM!

Sculptural Flameworking Class

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The Sculptural Flamework class and the Flamework Club got a great start to the fall semester here at the Washington Glass School.
Above photo shows the weekend class completely engrossed in their works in the new lampworking stations.
Instructor Robert Kincheloe
has advised that there is still space available in the next beginner class coming up in October and the Club is going strong on Saturdays.

Some killer flamework classes with superstars Liz Mears and Michael “Fig” Mangiafico are coming up real soon!

WGS at Pilchuck

>Our Elizabeth Ryland Mears and Robert Kincheloe are off setting up a residency at the famed west coast glass school Pilchuck.

The Professional Artists in Residency (PAIR) offered at Pilchuck Glass School is a time for professional artists to come together and share information, expand a current series, or design a new one, to network and use the facilities that Pilchuck has to offer for an intense week of discussions, critiquing, and networking. There are no instructors as such, so each artist is responsible for designing his/her own program for the week within the structure of the larger schedule…in essence every participant is both a student and an instructor, so ideally each will be engaged in both teaching and learning.

Washington Glass School’s Elizabeth Mears has organized this years program for the residency and has given us a look at the schedule:

Janis Miltenberger will be with the flamework group and will lead a discussion and demo of her approach to flameworking. Rob Kincheloe will give a presentation on the boro glass casting process that he is developing – and he will have some samples for experimentation. Kathleen Elliott will give a presentation on the John Burton Program as an example of one of the possibilities of how we can continue to grow as artists.

We look forward to their updates!

Pilchuck’s beautiful wooded campus – about 50 miles north of Seattle overlooking Puget Sound.

Update from ISGB Lampwork Conference in Rochester

>Robert Kincheloe has been having a great time at the ISGB Conference. He has been working with some lampworking superstars like Michael Mangiafico.


Michael “Fig” Mangiacio performs a torchwork demo for the conference.


Robert has also been working on a
collaborative piece with Milon Townsend.


Milon Townsend

Milon Townsend uses modern technological innovations, traditional Italian techniques such as murrine and filigrana, and flamework methods that he himself has developed to create the sculptures that appear in his mind. He has taught at RIT’s School of the American Craftsman, at Urban Glass in NYC, been a visiting artist at RISD and is a regular teacher at The Studio at the Corning Museum. His artwork is in the permanent collections of the Carnegie Museum of Art, American Glass Museum, and the National Liberty Museum.

The collaborative piece involves integrating Robert Kincheloe’s cast borosilicate glass figures with Milon’s lampworked glass. Below is one of the larger sculptures:

Cast and flameworked borosilicate glass.
Robert Kincheloe & Milon Townsend


Robert at Niagra Falls. Slowly he turns…

New Class Schedule Part 2 – Special Lampworking Classes

>Lampworking, torchwork, flamework – all mean the same thing – sculpting glass heated over a torch. You will get hooked on the immediate satisfaction that comes from this form of art! The flameworking program at the Washington Glass School has expanded. Take our beginner lampworking classes and build your skill level (and fun level) with the open studio Flamework Club. Or take the next step – with our Intermediate Sculptural Flamework class.

This class session we have brought on some new special classes with super star instructors: Elizabeth Mears and Michael Mangiafico!

Elizabeth Mears is a full time, award winning artist. Whether representational or conceptual, her artwork reflects her strong connection with nature; often combining glass with mixed media. Liz studied and now teaches lampworking techniques at Penland, Pilchuck and Corning Studio. Her book “Flameworking” was published in 2003 by Lark Books. Liz will draw upon her love of nature for her “Lets Make Leaves” class and her “Building Flowers with Bridges class.

Michael Mangiafico (Fig) graduated with a BFA in glass art from Carnegie Mellon University. He has been teaching lampworking and glass blowing for over 20 years. He owns and operates his own glass studio in Pittsburgh, Pa. His work is available in galleries nationwide and has been featured in numerous art magazines and publications. Fig will be teaching an amazing class on creating bugs “Glass Entomology“.

Have a look at the full Fall Lampworking Schedule:

SPECIAL LAMPWORKING CONCENTRATION CLASS SCHEDULE

Class 1032 – FLAMEWORK CLUB – Open Studio for Flameworkers

Already know the basics of flameworking? Want to join others in a social atmosphere while you work? Our Flamework Club gives each student the opportunity to work independently in a world class studio while meeting some great new friends! Materials extra.
Class Limit: 6 students
Instructor: Studio Staff
Dates: Saturday afternoons (call to confirm appointment)
Time: 1:30pm – 5 pm
Tuition: $300 for 4 sessions – or included with Instructor Classes (#1033, 1034, 1035, 1036, 1037)

flamework club


Class 1033 – Beginning Sculptural Flameworking

Learn the basics of making objects in the flame from borosilicate (Pyrex) glass. This 2-day class will focus on skills that are the basis of working with glass on the torch. You will come away with knowledge and some fine objects too! Rob is an energetic, knowledgeable instructor and artist who is ready and willing to help anyone learn this fascinating art form. The materials fee provides student with initial pack of glass, fuel for the torches and the loan of a full set of hand tools. Additional glass and supplies are available for purchase as the class progresses. Take this class more than once to reinforce your skills! Class Limit: 6 students

Instructor: Robert Kincheloe
Dates: Session A Sept 18 & 19, Session B Oct 2 & 3

Time: 10am – 1 pm
Tuition: $250 + $50 material fee

robert.kincheloe.glass


Class 1034 – Intermediate Sculptural Flameworking / Working Hollow

This is a student driven class that will promote techniques not displayed in the beginning class. In this 2-day class, students will learn to work with tubing to create glass sculptures. (materials cost of $50 payable at first class meeting) Class Limit: 6 students

Instructor: Robert Kincheloe
Dates: Saturday / Sunday, November 20 & 21
Time: 10 am – 1 pm
Tuition: $250 + $50 material fee

lampworking.glass


Class 1035 – Glass Entomology – Lampworked Insects with Michael Mangiafico
Students will learn to work with soft glass while observing nature. Students will explore heat control, cane pulling and the basics of soft glass sculpting. His glass insects are some of the finest examples of lampwork worldwide.

Michael Mangiafico has been teaching torchworking and glass blowing since 1993. While his specialty is making glass insects, he also makes beads, marbles, jewelry, vessels, and paperweights. Class Limit: 6 students
Instructor: Michael Mangiafico
Dates: Saturday / Sunday, October 9 & 10
Time: 10 am – 1 pm
Tuition: $300 + $50 material fee

fig studio.glass


Class 1036 – Lets Make Leaves! with Elizabeth Ryland Mears

Why leaves you may ask. We will pay homage to Nature’s small factory (Bio 101…CO2 + chlorophyll, + sunshine = sugar and O2) while we learn to control the bench torch, manipulate hot glass, direct the heat, use tools to create shape and texture, and work with different sizes of clear rod and tube. The focus of our endeavors will be to make “parts” which can be incorporated into larger sculpture at a later time. Class Limit: 6 Students

Instructor: Elizabeth Ryland Mears
Dates: Saturday / Sunday, October 23 & 24
Time: 10 am – 1 pm
Tuition: $300 + $50 material fee

elizabth_ryland_mears


Class 1037 – Building Flowers With Bridges! with Elizabeth Ryland Mears

“Bridges” are to Flameworking what exoskeletons are to beetles…they hold everything together. We will use the technique of “bridging” to make a daisy-like flower. We will make the flower then add the bridging to hold all the parts in place while we thoroughly fuse the glass together in the flame of the bench torch. This technique is invaluable when larger sculpture is created, so we will practice on a smaller object. The instructor will guide you step by step through the process. The bridging is temporary so will be removed to reveal a small object ready for further creative use. Class Limit: 6 Students

Instructor: Elizabeth Ryland Mears
Dates: Saturday / Sunday, November 6 & 7
Time: 10 am – 1 pm
Tuition: $300 + $50 material fee


For more information about classes – or to register and pay for the class using the online PayPal system, click HERE to jump to the school’s website class list.