Harriet Tubman Elementary School in DC features new sculpture at entrance, titled Enduring Dreams of Home, by WGS.
A new 11-foot Corten steel sculpture now stands at the entrance to the newly rebuilt Harriet Tubman Elementary School in Columbia Heights. Enduring Dreams of Home, designed by Washington Glass School artists Michael Janis, Erwin Timmers and Tim Tate, brings together the history of the neighborhood, the legacy of Harriet Tubman and the future of a new generation of Washington students.
The sculpture began with the history provided in the DC Department of General Services’ (DC DGS) call for artists. The site had once been occupied by Washington rowhouses, and the original school was built in the 1960s after the District acquired and demolished homes on the block. That history of architecture, displacement and neighborhood change became an important point of departure for the design.
From original DC DGS call for artists brief to create new sculpture in DC’s Columbia Heights.
Responding to the brief, the artists fragmented a three-dimensional composition of rowhouses, windows and structural forms. At the center is a stylized image of Harriet Tubman. The architectural fragments appear to pull apart around her, suggesting both the physical transformation of the neighborhood and the larger ideas of movement, freedom and change associated with Tubman’s life.
The design evolved considerably during the process. Early studies explored different approaches to Tubman’s portrait, architectural forms and the relationship of the sculpture to the school. An early concept also considered pairing Tubman with Washington figure Mary McLeod Bethune before the design was ultimately refined around a single Tubman figure.
Preliminary design studies for Enduring Dreams of Home
The final sculpture is deliberately open. The Corten steel is cut through in places that allow the viewer to see the school and the surrounding architecture beyond the work. As viewers move around the sculpture, the relationship between Tubman’s face, the fragmented houses and the brickwork behind it continually changes. The sculpture can be seen as both an architectural object and a kind of visual lens into the landscape beyond.
That transparency was an unexpected but important part of the final design. Washington Glass School is known for working with glass, but the artists were drawn to the strength and material character of Corten steel for this project. The steel was approached almost like an opaque panel, with the artists cutting, opening and layering the material until the solid surface became visually transparent. The result connects the material thinking of the glass studio with the physical presence of a large-scale steel sculpture.
Fabrication was completed by Tim Scofield, followed by the complicated task of transporting and installing an 11-foot steel structure in the city. The sculpture had to be maneuvered through narrow Washington streets and carefully positioned on the school grounds. Once installed, the Corten surface began its own transformation, with the steel continuing to weather and develop its characteristic patina over time.
Enduring Dreams of Home now stands outside a school filled with images and stories of Harriet Tubman. Here, however, her image takes on a different form. Rather than a conventional heroic portrait, Tubman is integrated into an architectural landscape that connects the memory of what once stood on this site with the school that stands here today.
Detail of Tubman portrait that is both solid and open. One can see through it to the school and neighborhood beyond.
The sculpture is ultimately about more than a historical figure. It is about home, displacement, transformation and the possibility of a future shaped by the generations who come next.
Tubman’s image becomes a lens through which the viewer experiences the architecture and landscape beyond.
Enduring Dreams of Home Michael Janis, Erwin Timmers & Tim Tate Washington Glass School Corten steel, 11 feet Harriet Tubman Elementary School 3101 13th Street NW, Washington, DC 20010
As the Washington Glass School celebrates its 25th anniversary, we’re looking back with the artists who helped shape its earliest years—and whose own practices grew alongside the School.
Cheryl Derricotte in her studio space at the Washington Glass School, circa 2009
Originally from Washington, DC, Cheryl came to glass after studying ceramics and sculpture at the Corcoran School of Art. What began with the confident assumption that making a glass bowl couldn’t be that different from throwing one in clay quickly turned into something much bigger: a new material, a new artistic language, and ultimately a lifelong practice.
Today, based in San Francisco, Cheryl works across glass, paper, textiles, and public art. Her research-driven work explores history, race, memory, power, identity, and place—using art to create what she calls a “brave space” for conversations that can be difficult, necessary, and transformative.
For WGS’s 25th anniversary, we caught up with Cheryl to talk about those earliest days at the School, finding her place in the larger glass community, the importance of representation and historical truth, and why glass still has the power to make her wildest dreams come true.
Beginnings
WGS: You were one of the first studio artists at Washington Glass School. What do you remember about those early days, and what drew you to become part of the community?
Cheryl P. Derricotte: I always say that I came to glass from arrogance!
In 2002, I was finishing a certificate in Ceramics and Sculpture at the former Corcoran Museum’s College of Art and Design, shortly after the Washington Glass School opened. I thought, “If I can throw a clay bowl, I can make a glass bowl—no problem!”
Glass got the last laugh, as it always does, as I barely finished my first glass bowl by the time everyone else had finished two!
The next glass class I took was a lighted sculpture course. I found my calling and continued to fall in love with glass.
Workshop at Washington Glass School, circa 2009. L-R Cheryl Derricotte, Dave Cool, Nicole Puzan.
WGS: Looking back, how did that early studio environment influence your artistic voice?
CPD: From its inception, the Washington Glass School was equally interested in the visual storytelling properties of glass practice as well as bringing finely crafted contemporary art into the world.
This tandem focus was a great environment for me to combine my activist voice with a new sculptural practice in glass.
Cheryl Derricotte at opening of exhibit at Foundry Gallery, DC in April, 2009.
WGS: Was there a particular moment at WGS that changed the way you thought about yourself as an artist?
CPD: When co-Director Tim Tate suggested I go to the Penland School of Craft to study with Therman Statom—the most famous Black glass artist on the planet, who was also from Washington, D.C.—I began to see that there might be a place for me in the larger glass community.
I should also note that during that trip to Penland, I met Washington glass artist Jeff Zimmer. Upon our return, we had a standing “Tuesday Studio Date Night” that furthered my practice.
The studio was in a remote location in those days, so having an artist-buddy who would walk me to the Metro to go home on Tuesday nights was wonderful. I am forever grateful to Jeff for his friendship in those early days of our careers.
Material & Meaning
WGS: Glass remains at the heart of your practice, even as you’ve expanded into paper, textiles, and public art. What continues to draw you back to glass?
CPD: I love working with glass, as it has the most expansive interplay of color and light of all the mediums, in my opinion.
WGS: Your work often explores identity, memory, and social history. When did you realize those themes would become central to your practice?
CPD: In the first sculptural workshop I took at Washington Glass—a lighted glass sculpture class—I decided to make a work about global poverty entitled Shed Some Light.
So, very early in my career, I was exploring my contemporary political concerns through my art practice. These concerns have continued to this day.
WGS: How do you decide which material is best suited to tell a particular story?
CPD: In my own work, I always reach for glass when the subject is portraiture, as I enjoy being in conversation with the history of photography, specifically daguerreotypes.
“Freedom’s Thresholds” sculpture unveiling ceremony, Gateway at Millbrae Station, 2023. The artwork contains more than 30 glass tiles. (Photo: Bevan Duffy/Twitter)
Public Art & Community
WGS: Your recent public commissions invite people into conversations about history, belonging, and shared space. What have you learned about making art for communities rather than galleries?
CPD: My public art commissions have allowed me to make work at a larger scale that will resonate with a wider audience.
I enjoy the fact that public art is free for anyone to view, and I have been fortunate that my sculptures to date have been placed in spaces with high pedestrian interaction.
WGS: How is designing a permanent public artwork different from creating a studio piece? What have you learned about balancing artistic vision with collaboration?
CPD: There are a lot of cooks in the kitchen of public art!
While I create the vision and overall design of a piece, there can be layers upon layers of opinions and reviews by community groups, nonprofits, and government agencies.
While sometimes this is more challenging than others, I consistently enjoy the partnerships I develop with metal fabricators to realize sculptures centering glass at a monumental scale versus a gallery-wall scale.
This combination of enjoying making the work and knowing that ultimately it will be free for anyone to see is what has kept me coming back to public art practice.
WGS: Projects like Freedom’s Threshold honor individuals whose stories continue to resonate today. What responsibility do artists have when interpreting history through public art?
CPD: Even though it is a big word, I stand on truth.
My research-based practice extends to my public artwork, as I use critical biographies and first-person interviews if available.
I have found that most of the historical figures I have worked with in my art practice—Harriet Tubman, John Brown, Mary Ellen Pleasant, James and Sally Hemings, to name a few—have interesting factual stories for me to tell without succumbing to mythology or sensationalism.
I often look at historical news stories as well, and sometimes they were highly sensational!
WGS: Your career has taken you from Washington, D.C., to San Francisco, with work now reaching audiences across the country. Looking back, what experiences most shaped your path?
CPD: Growing up in Washington, D.C., I was aware that I lived in the last colony on the mainland of America. So, it was always important to me to learn what a state was and how it worked.
Going to school in New York, living for a while in Washington state, and ultimately my life in California gave me this knowledge.
These experiences also taught me how to travel, and as an artist this skill has helped me immensely! I am very comfortable with moving my body and/or my art to locations across the country and, increasingly, in Europe.
Cheryl Derricotte working at the Studio at Corning (Photo: Jeffrey Foote Photography)
WGS: Is there a project that surprised you by changing your own perspective as you made it?
CPD: In 2022, I was invited by HABATAT to do an online solo show as part of its Not Grandma’s Glass exhibitions.
I made a series of work entitled Glass Boys: Portraits from America’s Factories that centered Black children working in glass factories—including those in Alexandria, Virginia—in the 1920s.
While Tim Tate understood that representation mattered and wanted me to meet Therman Statom right away in the early days of Washington Glass, working on the Glass Boys series allowed me to understand that I was part of a much longer lineage of Black glass artists.
Since creating this work, I have also seen images of Black women working in the factories. I keep an image in my studio of a Black woman holding a mold on the hot-shop floor that someone sent me after seeing my series.
Two pieces from my Glass Boys series were exhibited as part of the groundbreaking exhibition A Two Way Mirror: Double Consciousness in Contemporary Glass by Black Artists, curated by Jabari Owens-Bailey for the Museum of Glass.
The exhibition is currently on tour and can next be viewed at the Wichita Art Museum, January 16–June 6, 2027.
WGS: What role did Washington Glass School play in your development as an artist?
CPD: Washington Glass School introduced me to the medium that has been a constant companion in my art practice over the last 25 years.
WGS: What made the community at WGS different from other studios you’ve worked in?
CPD: Washington Glass School’s commitment to the narrative qualities of glass, and to glass as a sculptural medium, distinguishes it from other studios.
WGS: What do you think has allowed Washington Glass School to thrive for twenty-five years?
CPD: Washington Glass School has thrived for twenty-five years because of its attitude toward competition: A rising tide floats all the boats.
It is one of the most supportive places for artists, as Tim, Erwin, and Michael genuinely want everyone to do well!
2020 visit to Washington Glass School. L-R Cheryl Derricotte, Michael Janis, Tim Tate, Nancy Kronstadt, Teri Swinhart, Erwin Timmers.
Looking Ahead
WGS: What subjects or ideas are you most excited to explore in the years ahead?
CPD: I have three long-term projects that were originally started on residencies, and I am excited to bring them to fruition!
Having recently finished the bulk of the work with support from the Howard Foundation and a generous anonymous donor, my conceptual glass portraits of James and Sally Hemings are hopefully going to be exhibited in late 2027 or early 2028.
I am continuing my work about an Indigenous California tree, the Desert Fan Palm, which has more oases in Joshua Tree than anywhere else in North America.
I am also continuing my work on the bison who live on islands in the U.S.—in Alaska, California, and Utah.
Nothing would make me happier than reporting that all three of these projects have been completed and exhibited by 2030!
WGS: How do you hope artists will continue to push the boundaries of glass as a contemporary art medium?CPD: I hope that artists continue to look for ways to exhibit glass in all the places—contemporary art galleries, libraries, public art—not just medium-specific galleries and museums.
WGS: What advice would you give to emerging artists who want to build meaningful, socially engaged careers?
CPD: The most important thing you can do is decide what interests you and pursue it unapologetically!
When people look at my work, it doesn’t matter if it is a historical Black figure, a house, a tree, or a bison—there is a through-line of people, politics, and place that is immediately recognizable.
Closing Reflection
WGS: If you could revisit your younger self in the Washington Glass School studio twenty-five years ago, what would you tell her?
CPD: On the practice side, I would tell my younger self to prioritize getting her own equipment sooner rather than later.
On the visionary side, I would tell my younger self that glass is the thing that will make your wildest dreams come true.
WGS: As Washington Glass School celebrates its 25th anniversary, what are you most proud to have been part of?
CPD: I am so proud to have been in Tim Tate’s living room when the conversation about the structure for the School was taking place.
I was the one who explained all of the challenges of being a nonprofit and suggested that the School remain an LLC and work with fiscal sponsors when needed.
Ultimately, this decision served the Washington Glass School, and later the Washington Glass Studio—the public-art arm—very well, while preserving the co-directors’ control and vision.
WGS: Your work often creates spaces for reflection, dialogue, and healing. What do you hope people carry with them after experiencing one of your artworks?
CPD: I work intuitively, so seemingly random observations of current events and landscapes—including the political ones—often lead me to the economic and environmental concerns that guide my art practice.
Historical portraits and stories weave through my wall work and sculptures. My recurring themes are home, memory, place, and spirit.
When people view my work, I always want them to be intrigued to learn more about the topic and have conversations about it.
I believe that the gallery and museum are the brave spaces to hold difficult conversations.
Art is the perfect vehicle to lead us into the kind of discussions we would prefer to avoid—and bring us out on the other side in a place of deeper understanding and connection.
Twenty-five years after Cheryl first discovered that glass was considerably less cooperative than clay, that stubborn material remains her “constant companion.”
From Shed Some Light to Glass Boys, from intimate portraiture to monumental public commissions, her work embodies an idea that has been central to the Washington Glass School from its earliest days: glass can do more than demonstrate technique. It can carry narrative, recover history, provoke conversation, and connect people.
And perhaps Cheryl’s own journey offers the perfect anniversary reflection: sometimes the material that humbles you at the beginning turns out to be the one that makes your wildest dreams come true.
The Workhouse Arts Center has announced its “Call for Entries” for the 12th Annual Workhouse Glass International Exhibition.
This is an Open Call for functional and/or sculptural glass artworks for this anticipated annual exhibition demonstrating the breadth of contemporary glass. All levels are welcome.
JUROR: Corey Pemberton (American b. Reston, VA, 1990) received his BFA from Virginia Commonwealth University in 2012. He has completed residencies at The Pittsburgh Glass Center (PA), Bruket (Bodø, NO), Alfred University (NY), as well as a Core Fellowship at the Penland School of Crafts (NC). He has exhibited work at the Robert and Frances Fullerton Museum of Art (CA), The Contemporary Museum of Art in Raleigh (NC), and has work in the permanent collections of The Museum of Art and Design (NY), The Boston Museum of Fine Art (MA), and The Chrysler Museum of Art (VA). Pemberton currently resides in Los Angeles, California where he splits his time between the nonprofit arts organization Crafting the Future, painting, and his glass practice.
Exhibition Dates: October 24, 2026 – January 3, 2027
In 2026, the Washington Glass School marks a major milestone—25 years of artists, ideas, and community.
To celebrate the anniversary, the Brentwood Arts Exchange will present a special exhibition from September 10 through October 31, 2026, with an opening reception on Saturday, September 19. The exhibition brings together many of the artists who have helped shape the Washington Glass School over the past quarter century, including founders, resident artists, instructors, and alumni.
Founded in Washington, DC in 2001 and based in Mount Rainier, Maryland since 2006, the Washington Glass School has grown into a vibrant center for contemporary glass and mixed-media art. Over the past 25 years, nearly 6,000 students have studied at the school, creating a dynamic community that continues to expand through teaching, exhibitions, public art commissions, and artistic collaboration.
Rather than focusing on a single style or technique, the exhibition reflects the remarkable diversity of artists connected through the school. Visitors will see work ranging from kiln-formed and cast glass to sculpture, installation, architectural glass, and mixed media—demonstrating the many creative paths that have emerged from the Washington Glass School.
The exhibition celebrates not only the artwork, but also the people and relationships that have defined the school for 25 years. We hope you’ll join us at the Brentwood Arts Exchange this fall as we celebrate the artists, friendships, and creative community that continue to make the Washington Glass School a unique place to learn, create, and grow.
Washington Glass School: 25 Years September 10 – October 31, 2026 Opening Reception: Saturday, September 19, 2026 Brentwood Arts Exchange 3901 Rhode Island Avenue Brentwood, MD 20722
“To Be in the Right Place at the Right Time is a Wondrous Thing”
Some artists can pinpoint the exact moment their creative path changed. For Diane Cooper Cabe, it began with a walk into a glass studio in September 2001.
Original Meltdown Studio class schedule 2001
She had seen an advertisement for a glass casting course at Sally Hanson’s Gallery and decided to enroll. When she stepped into the Meltdown Studio, she was greeted by Tim Tate with the words:
“Welcome, you are the first one here.”
That simple welcome marked the beginning of a journey that has now spanned nearly twenty-five years. Diane proudly carries the distinction of being Washington Glass School’s very first student.
Diane Coope Cabe at Meltdown, circa 2002.
Discovering Glass
Many more classes followed as Diane became a regular at Meltdown Studio. There she discovered the magic of cast glass, learning not only the technical skills but also the possibilities of narrative artwork.
“The work I did there earned me honors,” she recalls, “including being named a Bullseye Glass Emerge Finalist and receiving a Torpedo Factory Merit Award.”
Just as importantly, she became part of the conversations, experimentation, and shared discoveries that defined those formative years.
Watching a School Take Shape
Diane witnessed the Washington Glass School evolve from its earliest days at Meltdown Studio with Tim Tate and Erwin Timmers to its move to Half Street in Southwest Washington, where the Washington Glass School officially took shape and Michael Janis joined the team.
Washington Glass School casting class at the DC Half Street location, circa 2004.
“For me, those were halcyon days,” she says. “My creativity expanded, and energy and music filled the spaces.”
Diane Cabe was a finalist for the 2004 Bullseye Glass E-Merge
She also became one of the original “Table People“—resident artists who shared workspace, ideas, successes, failures, and plenty of camaraderie.
“Michael, Erwin, and Tim guided and encouraged me with patience and humor.”
Diane Cabe (left) at glass artist Judith Schaechter’s workshop at Washington Glass School 2011.
Breaking the Mold
Those early years weren’t only about making artwork—they were about reimagining what glass exhibitions could be.
Diane remembers showing her work in some of the Washington Glass School’s earliest exhibitions, including Glastijl and Compelledby Content.
“Compelled by Content” groundbreaking glass art exhibit in 2005 featured Diane’s cast glass table sculpture titled ‘Tell Me Your Story’.
“They were exciting events that broke the wall of conventional glass shows.”
Rather than focusing primarily on functional objects, these exhibitions highlighted narrative and sculptural work, helping introduce audiences to new possibilities in contemporary glass.
“And then there was the splendid circus called Artomatic,” Diane laughs. “I reveled in it. What fun they were!”
Diane Cabe at Artomatic art fair, 2004.
A Continuing Connection
Over the years, Diane’s creative practice has led her into ceramics, mosaics, painting, and a decade of teaching glass classes at Glen Echo Park. But Washington Glass School has remained a constant.
In 2014, the Gateway Arts District featured Diane’s portrait banners along Rt 1 as promotion on the dedicated arts area.
“Over the past 25 years, I have wandered in and out of the School’s aura,” she writes. “Yet, the Washington Glass School and its artists are my North Star.”
She still returns regularly—to seek advice, make work, exchange ideas, and reconnect with friends.
“I am grateful for my bond with Tim, Michael, and Erwin and am honored to be a part of their history.”
As Washington Glass School celebrates its 25th Anniversary, Diane’s story reminds us that institutions are built not only by founders, but also by the artists who believed in them from the very beginning.
Diane Cabe with her sculpture ‘La Bella Figura’
Celebrating 25 Years
As Washington Glass School marks its 25th Anniversary, the celebration continues this fall with a major exhibition featuring works by Washington Glass School artists at the Brentwood Arts Exchange in Brentwood, Maryland. Running from September 10 through October 31, 2026, the exhibition will showcase the extraordinary diversity, innovation, and storytelling that have defined the School for a quarter century.
The exhibition opening reception will be held on September 19, 2026, bringing together artists, students, collectors, and the community to celebrate 25 years of making, teaching, and pushing the boundaries of contemporary glass.
The Washington Glass School recently welcomed a group of students from the Black History Month Poster Internship Program for an afternoon of studio visits, discussion, and career exploration.
Organized by Jewel Kahn, Education and Public Program Specialist for the M-NCPPC Black History Program, the visit introduced students to the working environment of a professional glass studio while offering an honest conversation about building a life in the arts.
Washington Glass School Co-Directors Michael Janis and Tim Tate spoke with the students about each of their paths. While discussing artistic process and contemporary kiln-formed glass, the conversation quickly expanded to topics that are often overlooked in art education: developing professional networks, creating opportunities, maintaining a sustainable studio practice, and navigating the realities of an arts career.
The students asked thoughtful questions about public art, exhibitions, collaborations, and the importance of community in an artist’s development. The exchange reflected one of the core missions of the Washington Glass School: sharing knowledge, encouraging emerging artists, and helping foster the next generation of creative voices.
We thank Jewel Kahn and the M-NCPPC Black History Program for arranging the visit and wish these talented students continued success as they pursue their artistic goals.
For Washington Glass School resident artist John Henderson, Jr., working with glass is both a creative pursuit and a spiritual practice. Since discovering kiln-formed glass at WGS, he has embraced the material’s beauty, technical challenges, and inherent unpredictability.
Discovering Glass
John’s introduction to Washington Glass School came while taking a stained glass class in the shared building that housed both the Washington Sculpture School and WGS.
“I had never worked with fused glass before,” he recalls. “As a result of taking a class at WGS, I became hooked on the process.”
What first attracted him was glass itself—its remarkable range of colors and textures, and the technical possibilities it offered. But it was something less tangible that kept him coming back.
“I enjoy working with my hands and creating beautiful objects,” he says. “The material has a spiritual quality due to its unpredictability when fire is applied. Not knowing the outcome is, in itself, stimulating and emotional.”
John Henderson “Warrior Shield”
Finding a Voice
Early in his artistic journey, John recognized something significant: very few Black artists were working primarily in glass.
Black Artists of DC (BADC) visit John Henderson’s studio space, October 2025. L-R Sharon Robinson, Jimmy James Green, Evalyn Hamilton & John Henderson at his studio in WGS.
“Glass as an artistic medium was not an established art form within the African American community,” he explains.
As his practice developed, opportunities followed—including exhibiting work, organizing exhibitions, and becoming an active member of the Washington Glass School community. Those experiences helped shape both his artistic direction and his commitment to expanding representation within the field.
John Henderson installs his work in the WGS Gallery.
The Value of Community
For John, one of the greatest strengths of Washington Glass School is the environment created by artists working together.
“I find working in a shared environment stimulating,” he says. “Sharing information with fellow artists, exchanging ideas, and participating in constructive conversations continues to influence my work.”
That collaborative atmosphere, he believes, is one of the things that sets WGS apart.
“There is no other facility in the DMV that provides a collective space for practicing artists whose primary medium is glass.”
Looking Ahead
As Washington Glass School celebrates its 25th anniversary, John reflects on being part of its continuing story.
“It is an honor and privilege to be a studio artist at WGS,” he says. “WGS has evolved into an artistic and educational center for everything having to do with the practice and techniques of using glass as an artistic material.”
His hope for the future is straightforward and ambitious:
“That Washington Glass School will be known as one of the premier glass centers in America.”
One More Question
If your work had a soundtrack, what would be playing?
“The rhythm of the drum.”
As Washington Glass School marks its 25th Anniversary, the celebration continues this fall with a major exhibition featuring works by Washington Glass School artists at the Brentwood Arts Exchange in Brentwood, Maryland. Running from September 10 through October 31, 2026, the exhibition will showcase the extraordinary diversity, innovation, and storytelling that have defined the School for a quarter century — offering audiences a chance to experience some truly remarkable contemporary glass art.
The exhibition opening reception will be held on September 19, 2026, bringing together artists, friends, collectors, students, and the larger arts community in celebration of 25 years of Washington Glass School. An artist talk is scheduled for October 17th, 2026.
Jeff Zimmer demonstrating his technique at North Lands Creative Glass, Scotland, 2018.
Jeff Zimmer was one of the earliest resident artists at Washington Glass School, working out of the original Half Street SE studio in the early 2000s. Since then, his career has taken him internationally — from earning his MDes s at Edinburgh College of Art to exhibiting in the British Glass Biennale and having work acquired by museums including the Victoria & Albert Museum in London.
For Washington Glass School’s 25th Anniversary, Jeff reflects on finding his voice, building community, and why WGS still feels like home.
On his first memories of WGS
Ca 2004 photo of Jeff Zimmer’s workspace at 1338 Half St, DC.
“My first memory of WGS is helping carry rolls of old carpeting down endless corridors to clear the original Meltdown studio site.
I had only been working with glass for a few years, and Tim brought me on to assist classes — even though sometimes I was learning something only minutes before the students!”
Later, as one of WGS’s first resident artists, Jeff spent countless nights cycling to the Half Street studio after work, often staying until midnight.
“The first works I really consider to have my own voice came out of that time.”
Jeff Zimmer, “Untitled Political Landscape“, 17 layers of enameled & sandblasted glass, lightbox, 2008
“WGS felt like it didn’t participate in hierarchy. I felt supported to pursue my own path.”
On finding his artistic voice
“At the time, I perceived the glass world as very hierarchical — dominated by glassblowing, with painting on glass seen as secondary or decorative.
Now, I love glassblowers and beauty, but that’s not my voice.”
What Jeff found at WGS was freedom to explore ideas outside those expectations.
Jeff Zimmer, “The Wake of The Hero“, layers of enameled glass, assembled in lightbox, collage, 2011
“There was already a concern with complexity and ambivalence in the work I was making then. That has stayed with me ever since.”
On thinking through glass
“As the years progress, I realize I think more and more through the material itself — not only its techniques, but its associations.”
For Jeff, glass carries centuries of layered meaning.
“I can draw on medieval associations of light and virtue reflected in stained glass, ideas of transparency and opacity, glass as both window and barrier, fragility and strength — even the ‘black mirror’ of our screens.”
“Ideas don’t really exist for me until I can find a way for them to exist in glass.”
On teaching and exchange
Jeff has taught internationally at Pilchuck, Bild-Werk Frauenau, Berlin Glas, and other institutions, while co-running Glass Lab Edinburgh in Scotland.
“Different glass communities shape artists in very different ways,” he says.
He notes how Germany’s technical school traditions, the UK’s emphasis on casting and painting, and resourceful studio cultures in South Africa and Latin America all create different relationships to the material.
“When those communities meet internationally, there’s a real exchange. That’s where things become interesting.”
On teaching beyond technique
“Technique matters, but it’s not the point.
I want students to use technique to find their own voice. The best moment is when you see someone take a process and immediately run somewhere unexpected with it.”
Teaching, he says, has also sharpened his own practice.
“It forces me to break instinct down into conscious steps.”
Jeff Zimmer chats about artist Audrey Wilson’s concept.
“The barriers to working in glass are high. Having a place that supports experimentation early on can completely change what becomes possible for someone.”
On success, recognition, and reality
Despite international awards and museum acquisitions, Jeff speaks candidly about the realities of sustaining an artistic practice.
“Some of the times I’ve had the most apparent ‘success’ were also the times I was supporting myself as a 45-year-old cycle courier.”
Recognition can help open doors, he says, but often quietly.
“The V&A acquired a piece of mine, and it sat in storage for nearly a decade before going on display. For most of that time, its biggest visibility was on my CV.”
Jeff Zimmer won the top prize at the 2019 British Glass Biennale, part of the International Festival of Glass, in Stourbridge
On returning to Washington Glass School
“How does WGS fit into my journey? It came into my life at exactly the right moment.”
Jeff Zimmer and WGS Founder Tim Tate.
More than two decades after leaving DC, Jeff says returning to WGS still feels deeply personal.
“WGS is home.
Whenever I walk through the door, I feel embraced like family. There’s warmth, curiosity, generosity — that hasn’t changed…I’m proud of what you’ve built. And I’m grateful it’s still a place I can come home to.”
As part of the Washington Glass School’s 25th Anniversary programming, Jeff Zimmer returns this summer to teach a special intensive workshop: 5701 – Obscuring and Revealing July 13–17 This five-day masterclass explores layering, transparency, dimensionality, and painted imagery in glass. Students will create personal three-dimensional layered compositions using glass painting techniques, collage, and spatial construction to investigate how glass can simultaneously conceal and reveal.
Ever wondered what happens behind the scenes in a working glass art studio? This July, the public is invited inside.
The American Craft Council (ACC) launches its inaugural National Craft Open Studios Weekend on July 18–19, 2026, from 12 PM–5 PM local time. Part of the nationwide Handwork 2026 initiative, the free event connects visitors directly with more than 1,500 craft artists, studios, and creative spaces across 36 states and Washington, DC.
Think of it as an “Independent Bookstore Day” for American craft — a rare opportunity to step into the spaces where artists actually make the work.
As an official participating studio, the Washington Glass School will open its doors during this national celebration of handmade culture. The event also arrives during WGS’ 25th Anniversary year, making it the perfect time to experience one of the DC region’s leading centers for contemporary glass art.
Visitors will be able to:
Explore the Washington Glass School’s working studios and specialized glass facilities
See firsthand how kiln-cast glass, fusing techniques, and glass-and-steel artworks are created
Meet resident artists and instructors
View works in progress and hear directly from the makers
Purchase original contemporary glass artworks, sculptures, and panels
More than a traditional open house, the weekend offers a chance to experience the energy, experimentation, and craftsmanship that happen inside an active arts community.
The event also extends beyond the school itself. WGS is coordinating open hours with neighboring creative spaces along the corridor, creating a walkable destination for DMV art lovers. Visitors can also explore nearby studios including Ampersand Art Space and Tyler Makes Things.
Whether you are a collector, artist, student, or simply curious about how things are made, this weekend offers a unique opportunity to experience the creative process up close.
As the Washington Glass School celebrates its 25th Anniversary, the stories that emerge are not only about artwork—they are about community, mentorship, experimentation, and finding creative refuge. For resident artist Kate Barfield, the School became exactly that: a place of encouragement, camaraderie, and artistic growth during a moment when the world felt uncertain.
Kate Barfield assembles her meticulous cut glass
A Washington, D.C.-area studio glass artist and former federal attorney for NOAA, Kate Barfield creates kiln-formed, cast, and fused glass works that balance humor, storytelling, environmental awareness, and political commentary. Her vividly colored compositions invite viewers into layered narratives filled with wit, beauty, and surprise.
Because she lived nearby in Mt. Rainier, Kate first encountered the Washington Glass School through occasional classes. But in 2020, during the isolation of the pandemic, the School became something far more meaningful.
Kate Barfield, “Homage to Ms Mailou Jones”, Photo by Pete Duvall
“When Covid hit in 2020, I took refuge at the School, to work on glass and to be with a great, close-knit community of artists,” Kate recalls. “The Glass School was a welcome oasis of camaraderie, creativity and encouragement.”
That connection eventually led her to become a Resident Artist, working more intensively in fused and cast glass techniques. Although she had prior experience in traditional stained glass, Washington Glass School opened the door to entirely new approaches to the medium.
“Glass—like no other medium—is unique in its color, light and depth.”
One of Kate’s earliest moments at the School remains especially memorable. After pulling a whimsical multi-armed cat sculpture from the kiln, she was met with enthusiastic encouragement from Tim Tate.
“Tim Tate yelped with excitement,” she says. “He held the glass in the air and told me to keep up the good work.”
That encouragement became foundational as Kate continued to develop her artistic voice. She credits not only Tim Tate, but also Michael Janis and Erwin Timmers, for helping guide her practice through technical advice, humor, and patience.
“Michael has shown great patience and offered advice from his long experience with glass,” she says. “And more than once, Erwin has been the source of a quick joke as he puzzles with me over glass equipment repairs.”
Kate Barfield, “Anarchist Pug”. Photo by Pete Duvall
Today, Kate’s work spans playful, political, and deeply environmental themes. Her pieces are united by a love of storytelling and fearless color. A rebellious pug gleams against fields of gold and scarlet. A blue heron triumphantly displays a fish while surrounded by crabs, turtles, foxes, and red-winged blackbirds. Another piece presents a monster stirring a pot beneath the dissolving colors of a flag.
Kate Barfield, “Homage to the Eastern Shore”, detail.
“All of these pieces welcome the viewer into a story—with a shot of color to delight the eye.”
Her artistic growth accelerated during preparations for the 2024 Artomatic exhibition, when Tim Tate encouraged artists at the School to create ambitious new work for public presentation. Inspired by an obscure Japanese female artist associated with images of the “Floating World,” Kate designed a sky-blue kimono-shaped triptych addressing climate change and global warming.
Kate Barfield, “Kimono Glass Homage”
The work balanced beauty with unease, drawing viewers close before revealing harsher realities embedded within the imagery, and the response was overwhelming.
“Two major glass artists emailed me to say they hung a photo of this kimono in their workspace—for inspiration,” Kate says. “For a fledgling artist, this is a big WOW!”
Kate Barfield talks about her work at Artomatic art fair, Washington, DC 2024
In the studio, Kate embraces both experimentation and unpredictability. Her favorite tool is surprisingly modest: a tabletop glass saw.
Kate Barfield, “The Influencer”
“I use it to make impossible shapes and fanciful images.”
She also embraces the unpredictable nature of kiln-formed glass, echoing advice often shared by Michael Janis.
“Glass has its own mind,” she says. “You do your best in composing a piece—then wait to see what happens in the kiln.”
Unexpected breaks or accidents are not failures, but opportunities.
“Often the unexpected creates a stronger image than the idea that you labored over.”
That openness to collaboration and feedback is central to her experience at Washington Glass School. Working alongside fellow artists allows for immediate conversation, shared technical knowledge, and collective problem-solving that would be difficult to replicate in solitude.
“If I were working alone, I would lose this valuable resource.”
As Washington Glass School reaches its 25th year, Kate believes the School’s greatest strength lies in its balance between national reach and neighborhood intimacy.
Kate Barfield
“The Glass School is large enough that it attracts talent from around the country, but small enough that it has a neighborhood, hometown feel.”
For her, the spirit of the School is reflected as much in shared celebrations and impromptu gatherings as in the kilns and classrooms.
Washington Glass School celebration of Kate’s B-Day = cake and guac!
“The School’s spirit is captured—in part—with the many parties that we enjoy—celebrating birthdays, milestones, congratulations—reminding us how much we appreciate one another. The tasty margaritas and champagne are also welcome.”
Looking ahead, Kate hopes to continue learning, experimenting, and pushing her work into new territory. She sees glass itself as an endlessly evolving field filled with astonishing diversity and invention.
And what should Washington Glass School be known for 25 years from now?
Kate answers without hesitation:
“The Glass School is a beacon of creativity—both a home and a welcome respite for artists passing through.”
Then she adds a perfect final image:
“Where else but the Glass School can you come in—on an ordinary day—and watch an Italian Glass master craft the tiniest purple elephant in the world? That’s the Glass School!”
As Washington Glass School marks its 25th Anniversary, the celebration continues this fall with a major exhibition featuring works by Washington Glass School artists at the Brentwood Arts Exchange in Brentwood, MD. Running from September 10 through October 31, 2026, the exhibition will showcase the extraordinary diversity, innovation, and storytelling that have defined the School for a quarter century — offering audiences a chance to experience some truly remarkable contemporary glass art.
