Talking Out Your Glass Podcast

Some might say that Daniel Clayman is more a sculptor using glass as his primary material than a glass artist. That is to say his sculptures would be successful from a formal point of view no matter what material they were created in. With one major exception: the play of light in Clayman’s glass art enhances the objects dramatically in comparison with how they might appear in a solid, non-translucent medium. Born in 1957 in Lynn, Massachusetts, Clayman planned a career as a theater lighting designer, studying in the theater and dance departments at Connecticut College, eventually dropping out of college to work in the professional theater, dance and opera world. A chance class in 1980 introduced the artist to using glass as a sculptural material. In 1986, he received his BFA from Rhode Island School of Design and has maintained a studio in East Providence, Rhode Island since then. ​Clayman’s interests in engineering, the behavior of light, and the memory of experience, act as an impetus for much of his work.

Each piece in Jack Storms’ newest line of sculptures begins with the artist’s unique and meticulously hand-crafted Infinity Core, boasting 30 times more intricacy and a mesmerizing sparkle that outshines anything you’ve seen before. Every facet reflects a world of colors, and each sculpture captures a symphony of light.  Growing up in New Hampshire as a talented athlete and motivated student, Storms didn’t discover his passion for art until his twenties, at the end of which he earned his BA in art with a focus on studio production from Plymouth State University. During his junior year, the young artist began apprenticing at the studio of coldworking artist Toland Sand, who was combining lead crystal and dichroic glass via a cold-glass process. Eventually Storms became a strong enough sculptor to branch out on his own and in 2004 opened StormWorks Studio. Storms’ unique cold-glass process can take up to 10 weeks. He begins at the heart of the design by creating a core of lead crystal which is cut, polished and

The emitted light from a David Huchthausen sculpture is an artwork unto itself. For the last five decades plus, the artist has been captivating viewers through sculpture defined by its unique and other-worldly manipulation of light. A critic once described his work as “high tech spiritual,” an observation the artist rather liked. Huchthausen once stated: “Creation is a continual and evolutionary process, constantly digesting and reevaluating past experiences and current perspectives. My work has always been deliberately enigmatic and mysterious. I constantly strive to generate a strange and curious quality that both tantalizes and challenges the viewer to develop his own response system. The work must have an existence of its own if it is to have any real significance.” Huchthausen was one of the first artists of the Studio Glass Movement to emphasize cold working and fabrication techniques such as cutting, sawing, laminating, and optical polishing. Within his most recent crystal-clear geometric forms, the ar

From their trademark blown vessel forms to more recent large castings, Hunting Studio of Princeton, Wisconsin, uses glass and its myriad mysteries to tell stories of unapologetic beauty and celebration of color. The work of this father-son team, Wes Sr. and Wesley Hunting, is on view now through February 4, 2024 in Directing the Flow: The Art of Wes Hunting, at the Bergstrom Mahler Museum of Glass (BMM) in Neenah, Wisconsin. The studio was awarded First Place and a solo show at the Museum following its 2022 Glass Arts Festival. States BMM Executive Director, Amy Moorefield: “The Huntings create blown and cast glass vessels and sculpture featuring colorful palettes and murrine inspired by past and present creations of artists working in Murano, Italy. Through the process of painting with colored glass and cold surface cutting, Hunting’s newest creations invite the viewer to gaze inward into miniature worlds, paying homage to the aesthetics of overlay paperweights.” Hunting Sr. studied under glass artist Henry

Glass Knitting by Carol Milne A pioneer in the field of knitted glass, Carol Milne combines passion for knitting with experience in sculpture. The artist began working with kiln cast lead crystal, experimenting with different methods and developing a lost wax process to cast individual knitted works into glass. Playing with translucency and the material’s ability to highlight a prismatic range of hues, light is essential to Milne’s body of work, and she has recently been working on pieces that focus on illumination. States Milne: “I see my knitted work as metaphor for social structure. Individual strands are weak and brittle on their own, but deceptively strong when bound together. You can crack or break single threads without the whole structure falling apart. And even when the structure is broken, pieces remain bound together. The connections are what bring strength and integrity to the whole and what keep it intact.” Receiving a degree in landscape architecture from the University of Guelph, Canada, in 198

Kenneth von Roenn Jr. has designed and executed more than 1,500 commissions in the U. S., Middle East, Far East, Europe, Canada and Mexico. His work has been published in more than 75 books, magazines, and digital publications, and he has received more than 25 awards for work, including two hall of fames and lifetime achievement for the state of Kentucky. Von Roenn has also written and lectured on the topics of art in architecture, the evolution of architectural glass art, and the development and concerns of public art.  This Sunday, October 1, 2023, von Roenn will present examples of the architectural application of expressive glass and an introduction of what is on the horizon at the Stained Glass Association of America’s conference, Forging New Paths, held September 27 – October 1, 2023 in Buffalo, New York. Also, a new documentary film of von Roenn’s work by the noted film maker Sam Halstead has just been released. Says von Roenn: “As an architect, I am primarily concerned with the sympathetic relationshi

The stained glass community will gather in a confluence of energy, inspiration and excitement for Forging New Paths: The Stained Glass Association of America’s 2023 Conference, held at The Hyatt Regency in downtown Buffalo, New York, from Thursday, September 28 through Sunday, October 1, 2023. In addition to 25 workshops, five tours, auctions, art salons, art openings, the Vendor Showcase, the Mosaic Marathon, and major networking events – SGAA will hold its General Session. For more information, check out SGAA’s website for speakers, a full schedule of events, and more about individual facets of every part of the event on the organization’s conference homepage.  General Session Each year during General Session, SGAA brings together speakers from around the world to speak about restoration, conservation, public art, history, and technology in the field. It is not uncommon to have roundtables to tackle emerging issues or panels of experts to provide clarity on how industry elements are being tackled across the

From his studio in Dania Beach, Florida, Rob Stern creates his signature Windstar sculptures, dedicated to his father, a consummate stargazer fascinated by cosmic phenomena. Stern was also inspired by his surname, which means star in German. The artist often names his stars to reveal their celestial spheres. Copernica is derived from Copernicus, visible in the evening sky over Miami Beach. Polaris, known as the North Star, is the brightest in the constellation of Ursa Minor. Antares is the 15th brightest star in the night sky and is part of the constellation Scorpius. Other Windstar titles conjure colors and experiences, such as Red Dawn, which takes its name from a glowing red center or Modra, the Czech word for blue. Stern’s Windstars are a testament to his deep understanding of glass and belief that the material takes him where it wants to go during the making process. Another iconic body of work, Stern’s Stilettos, was inspired by his wife’s vast collection of designer shoes that includes Manolo Blahnik,

With glass as her medium and lost wax casting as her primary technique, Anja Isphording creates idiosyncratic sculptures familiar enough for us to recognize that they are inspired by nature, yet rarely resembling anything that we have actually encountered. Her intimate-scale objects, tactile and rich with deeply saturated colors, are reminiscent of basic molecular structures, honeycombs or coral reefs, but their biological reference remains ambiguous.   In Germany, Isphording’s early glass engraving studies in the 1980s with FS Zwiesel and Franz X Hoeller were followed by a stint as an engraving instructor at the summer school Bild-Werk, Frauenau. She founded her first studio in Helminghausen, Germany, in 1989, but relocated to Vancouver, BC, Canada, in 2000 and switched her focus to casting. Isphording’s work has been exhibited in Europe and the United States, and collected by museums worldwide, including the Toledo Museum of Art, Toledo, Ohio; the Chrysler Museum of Art, Norfolk, VA; Museum of American Glas

Art and technology share a symbiotic grace in the glass spacecraft, rockets, and scientific apparatus of Rik Allen. Most of his work is made primarily of glass and metal, which expresses a paradoxical symbiosis. The relationship between the rigid strength of metal with the inherent fragility of glass creates an alluring tension. While many of his pieces reference his curiosity about science, they also convey humor, simple narratives, and a lightheartedness that is embodied in much of science fiction’s antiquated vision of the future. The theme of “futuristic antiquity” reflects Allen’s interest in the literary fictional worlds of Jules Vern, H.G. Wells, Arthur C. Clark, and Isaac Asimov and their influence on the scientific community. His sculpture is also inspired by the accounts of early scientific pioneers of the 19 and 20th centuries, such as Nicola Tesla, Robert Goddard, Wernher von Braun, and other great scientific minds. Born in Providence, Rhode Island, Allen earned a BA in Anthropology from Franklin

In 1974, three recent art school graduates – Ray Ahlgren, Dan Schwoerer, and Boyce Lundstrom – cobbled together a glass factory in the backyard of a ramshackle house in Portland, Oregon. Resourceful by nature and necessity, they built their factory with scraps repurposed from a shipyard. And, their products—hand-rolled sheets for the stained glass trade—were made from recycled bottle cullet. Shamelessly innovative and unconventional, Bullseye Glass Company was born.  A chance encounter with artist Klaus Moje in 1979 inspired them to do something that had never been done before—something that would change the company’s course and the history of glass art. They produced a palette of tested-compatible glasses for creating works in a kiln. This reliably fusible glass was an extraordinary product that artists had historically longed for. However, there was a problem—almost no one knew what to do with it. Undaunted, Bullseye embarked on a long-term program of research and education by working hand-in-hand with art

British born artist, Joanna Manousis creates sculptural objects and installations in glass and mixed media, manipulating materials through a multi-disciplinary process that includes bronze casting, enamels, and even taxidermy. With a hands-on studio practice spanning 17 years, she strives to transform cast glass surfaces into reflective, three-dimensional mirrors, shifting the viewers’ perspective and bringing new experiential possibilities. Wrote Eve Kahn in a 2018 Todd Merrill exhibition catalog: “Joanna Manousis mines her life experiences while exploring broader themes—materialism, memory, domesticity, vanity, iridescence—in acclaimed sculptures that mingle glass with wheat husks and taxidermied birds. Viewers may find themselves reflecting on the transience of existence while seeing themselves literally and metaphorically mirrored in her works.” An only child raised by her mother, growing up Manousis loved drawing and painting. During early meditations with mirrors, she had the initial experience of being

Loretta H. Yang and Chang Yi, founders and artists of LIULI Crystal Art, devoted their life to the art of LIULI for three decades. In the process, they revived the ancient Chinese technique of pâte de verre lost wax casting and instigated the contemporary glass art movement in Asia. Richly imbued with traditional Chinese artistic vocabulary and philosophical thinking, Yang’s works have been acquired by more than 22 museums for their permanent collections including Victoria and Albert Museum in London, the Palace Museum in Beijing, New York Museum of Arts and Design, The Corning Museum of Glass, and Musée des Arts Décoratifs in Paris. She has created work for the Oscars, Grammys and 32 world leaders. “Beauty transformed” is how Japanese critics have described Yang’s multiple talents. Named Best Leading Actress in the 21st and 22nd Golden Horse Film Awards ceremony, she was the first actress who won this award two years in a row. In 1987, Yang left the film industry along with her late husband, film director Ch

Pacific Northwest glass artists Kelly O’Dell and Raven Skyriver, who create sculptures inspired by marine life, species endangerment, extinction, and conservation, will exhibit their work at Habatat Galleries during next week’s Glass Art Society conference in Detroit, Michigan. Titled Confluence, the show is a tour de force of works created in homage to the natural world and to raise consciousness in viewers about the need for preservation of natural spaces and species. On June 5, during Habatat’s first ever VIP Artist Gala, Skyriver will present a glassblowing demo at the brand-new Axiom glassblowing facility, followed by artist talks given by Skyriver and O’Dell. On June 7, VIPs travel to the Henry Ford Museum of American Innovation to view its important glass art collection and experience a rare opportunity to see the culmination of O’Dell’s residency there via work she created onsite at Greenfield Village. In 2018, Skyriver and O’Dell launched a Kickstarter campaign to crowd-fund building their own studio

Occasionally an artist is commissioned to create a work that advances their skills to such a degree that no project seems unreachable going forward. Such was the case with De Carter Ray’s History of Transportation, created in 2017 for C. Graham Berwind III’s residence. The original work on which the project was based was designed by Jean Dupas and constructed for the transatlantic ship the S.S. Normandie in 1935. The original took 2 years to make; Carter Ray had only eight months. Requested as a feature for her client’s dining room wall, Carter Ray’s drawings were followed by photography, then scanning into a computer. Ropes, guns, anchors, chains, rigging and carbuncles were all carved. Longer rigging lines were carved 1/16 of an inch and filled with enamel paint. For the entire project, the artist had to work in reverse and flip the piece sideways on an easel in order to reach it. The piece was done in stages. Each panel design was carefully taken apart, foreground to background, one item at a time. All of

Under cover of his signature top hat and distinctive moustache, Lewis Wilson has accomplished more than most people dream of. His list of achievements includes success as a glass art instructional video producer, demonstrating lampworking artist, promoter of the world’s largest hot glass competition, and founding member of the International Society of Glass Beadmakers. A fixture at glass bead and pipe shows, “Looie” is also a fire-eating juggler, knife swallower and a black belt in karate. In his Crystal Myths gallery, you’ll find everything from goblets and vases to birds and dinosaurs. The fantasy realm is where this artist draws much of his inspiration. Being from New Mexico, it is only fitting that Wilson is also known for glass sculptures of Native American ceremonial dancers. The intricately costumed pieces have not only become prized additions to private collections, but were also given as official presentations from the state of New Mexico to visiting dignitaries such as King Juan Carlos of Spain, blu

As a collaborative team, Dean Bensen and Demetra Theofanous create narrative pate de verre wall sculptures utilizing nature as a vehicle to communicate environmental challenges and metaphors for the human experience. Their work connects the viewer with the natural world and instills an appreciation for its interconnectedness to humanity and its inherent fragility.    Says Bensen and Theofanous: “Our decaying leaf installations reflect on our impermanence and vulnerability. What we do has impact – often unforeseen and unmeasured. A pile of leaves hit by a gust of wind is a metaphor for this uncertainty in our future. It expresses that pivotal moment of change, when things we took for granted are suddenly gone. Existing peacefully with others and protecting our natural resources is a tenuous balance, highlighting our interdependence on others and the earth.” Bensen and Theofanous work both independently and as a collaborative team. Their work has been exhibited nationally and internationally and is represente

world-renowned glass artist located in Washington State, Phil Siegel developed his own unique understanding of flameworked glass without any formal education or apprenticeship. With an extensive background in construction and education in architecture, he challenges himself to create a relationship between fantasy and structure throughout his pieces while relating to his spiritual, intellectual, and emotional self.  Born in 1972 in Petaluma, California, Siegel developed a career as a general contractor designing and building high-end homes, working with clients from the ground up. In 2008 the economy crashed, banks stopped loaning money, and people stopped building houses. Out of work and experiencing his first winter off in years, Siegel began exploring a book he’d purchased 18 years earlier – Intro to Glassblowing by Homer Hoyt.  In 2010, at age 38, Siegel took his first classes in flameworking pipes, something he’d wanted to do since seeing basic spoon pipes at a Grateful Dead show years prior. As a busy c

For four generations, the Raiffe family toy designers and inventors used ingenuity and creativity to bring joy to others. In homage to this family tradition, Josh Raiffe carries out that mission in his own uniquely beautiful medium – hot glass. He recently caught the attention of both art and fashion lovers with his creative glass interpretation of the Coperni Swipe Bag – a modern handbag designed to adorn a subject’s hand.  Coperni approached Raiffe to create a glass bag for a photo shoot. His original design was inspired by the painting of Saint Denis of Paris. Holding his head in his hands, a halo appears where St. Denis’ head once rested. Raiffe wanted to create a glass handbag that would reveal a halo around the hand of its wearer, selecting colors to illuminate the hand as if to reveal a divinity from within.  Experimenting with glass color combinations, he applies an overlay to the inside and outside of each of his bags. The glass layers work in concert to create color combinations that are amplified t

Drawing from the wild and erotic character of the natural environment, Bri Chesler’s work reflects on cultural obsessions of beauty and their relationships to internal anatomies. By fusing similar elements found in biology and botany she creates forms that flirt with the audience, exploring ideas of intimacy and desire. Known for its nontraditional approach, her work combines a variety of glass techniques with other media.  Says Chesler: “Over the last few years glass has become the focus of my material exploration. The process revolves around using your body, the momentum of its movements, and your breath to shape a form. You have to allow yourself to be vulnerable. A dance between artist and medium, each movement carefully caressing, convincing the glass to become something new. The reality and illusion of its fragility, its weightless transparent quality, feed into the idea of being exposed, a material, a skin, that has the ability to be both vacant and full of depth.”  She continues: “I like to maintain a