Talking Out Your Glass Podcast

Richard Royal, a native of the Northwest, has become recognized internationally as one of the most skilled and talented glassblowers in the Studio Glass movement. Bodies of work such as his early Diamond Cut series to the more recent Geometrics are the hallmarks of his successful career in glass. The artist began working as a glass sculptor in 1978 at the Pilchuck Glass School, located north of Seattle. After spending a number of years as a ceramist, the birth of a new artistic movement appealed to the young artist.  Working his way through the ranks, Royal became one of Dale Chihuly’s main gaffers. This relationship lasted for a number of years and consequently led to Royal’s emergence in the art market in the 1980s. He has since been an independent artist exhibiting work internationally in both solo and group exhibitions. Wrote gallerist, Ken Saunders: “When Royal joined the staff of Pilchuck it was ostensibly as a maintenance man. In those early days a guy hired to clean up and a guy hired to drive a truck

Celebrating her 50th anniversary of working with glass, Emma Varga recently received a Government Ministry for Art grant to create works for four major solo shows as part of the celebration project. These include: Forces Of Nature solo exhibition, Sabbia Gallery, Sydney, April – May 2021; Fragile World #2, solo exhibition, Australian Contemporary, Melbourne, 2023 TBA; Revival, retrospective, Wagga Wagga Art Gallery, 2023 TBA; and Long Reef – Revitalization,Manly Art Gallery & Museum, 2024 TBA. The pandemic provided the artist with isolated time in her studio experimenting and creating elements for new works. This week, she teaches two sold-out workshops at Creative Glass Switzerland.   Born in Ada, Yugoslavia, in 1952, Varga graduated from the University of Applied Arts in Belgrade in 1975 earning a bachelor of arts degree in visual and applied art, with majors in glass design and ceramic sculpture. Her work has been heavily influenced all along by her environment and experiences, which have, ironically,

The “LIFE ART LIFE William Bernstein” exhibition opens August 6 and runs through October 9, 2022, at the Toe River Arts’ Kokol Gallery, Spruce Pine, North Carolina. This 50-year retrospective of the blown glass work and paintings of William Bernstein showcases the work of an artist who has been at the forefront of the North Carolina studio glass movement for over 50 years. It creates a visual summary of the separate elements of Bernstein’s art over time – his motives, goals, and achievements, while showing his ability to work simultaneously in diverse mediums.  Curated by Bernstein, the artist was assisted by Jordan Ahlers from Momentum Gallery, Asheville, North Carolina. He and Billy selected approximately 40 sculptural works and 20 wall pieces that span his career. The artist’s unique style of incorporating images on glass is mirrored stylistically in his two-dimensional paintings. So much of his work and family life are evident in his art forms – portraits of the people, pets, and environs that surround hi

The perfect marriage of what’s uniquely beautiful about blown and stained glass, Monarch Glass Studio’s Cellular comprises 470 square feet of glass panels installed in the UH2 building at Truman Medical Center in Kansas City, Missouri. Designed and fabricated by Tyler Kimball and his team, this project highlights the magic of the handblown rondel in its role as a perfect accompaniment in stained glass windows. Says Kimball: “Architecture and pattern always inspire me in my designs. I like each installation of glasswork or individual piece to have its own voice and personality, attaching itself to the place it lives and the people who view it.” Kimball has been working with glass as his main medium since 1999. Prior to returning to his hometown of Kansas City, Missouri, to build his glass studio, the artist lived and worked as a glass artist in Seattle, Washington, and Portland, Oregon. He’s worked in over 60 studios in production, as a resident or visiting artist, assisting other blowers, teaching classes, as

Born in Mirano, Italy, Emilio Santini comes from a family with centuries of tradition in glass. With skills in the areas of lampworking, glassblowing, casting and diamond point engraving, he has taught primarily torchworking at many of the major glass schools in the US including Pilchuck Glass School, Stanwood, Washington, Penland School of Craft, Bakersville, North Carolina, and Pittsburgh Glass Center, as well as at Virginia Commonwealth University, Richmond, Virginia. Currently residing in Blacksburg, Virginia, Santini is dedicating more time to his first love – writing poetry and fiction, with a particular focus on the glass world, past and present. The product of over 500 years of glassblowing tradition, Santini’s father was his first teacher. At the age of 11, Emilio was sent to work in Cenedese glass factory during the three-month summer break from school. His uncle, Giacinto Cadamuro, was his teacher during that year. For the next five years, the young Santini went back to work for three months in the

Jim Scheller’s vessel designs are informed by simplicity and abstraction. His work is inspired by Neoplasticism and the artists of that period, beginning with the De Stijl movement of the early 20th century. Always a scientist, he is fascinated with exploring the processes that use heat and gravity to bring his designs to life in glass. Initially introduced to glass kilnforming in a 2012 Bullseye workshop, Scheller shifted his professional focus following a long and enjoyable career as an engineer and technologist working with creatives worldwide in the athletic footwear and apparel industries. Experimenting and learning about art and glass as a medium quickly became his passion – a transformation he describes as being “taken hostage by kilnforming glass.” Scheller further developed his technical and artistic abilities in 2014 and 2015 at the Professional Kilnforming Residency at Pilchuck Glass School in Stanwood, Washington. Gracious mentoring from many of the best artists and friends – such as Steve Klein a

“The glass forms of Latchezar Boyadjiev balance the tangible and the intangible. Evoking the sensual undulations of the female figure and the powerful flow of natural forces, his works are composed in fluid, fragmented planes of color marked by fine shifts in depth, tone and translucency. He works monochromatically and uses rich color and light to describe the sweeping contours of the glass as it reflects and refracts through luminous golden yellows, icy blues, and woozy magentas.” – LewAllen Galleries  Considered one of the most important glass artists working today, Boyadjiev’s oeuvre transcends the field of glass so much so that his ethereal sculptures are simply titled with emotions. His dynamic sculptures reflect depth, dimension, and a new approach to contemporary glass art and design. Born and raised in Sofia, Bulgaria, Boyadjiev attended the prestigious Academy of Applied Arts in Prague, Czech Republic (formerly Czechoslovakia), under the guidance of Professor Stanislav Libensky, one of the most promi

From sketch books to glassware, lighting or toilets, Zach Puchowitz’s raw aesthetic, in combination with humorous, self-reflective drawings and scribbled thoughts, are inspired by daily life, inner psyche struggles, low-brow art, subculture and guys from the neighborhood. From his Hot Rod Derby Cars to his Punished Head series to The Idiots, The Kennys and Billy B., Puchowitz’s stunning sculpting skills continue to amaze fans and collectors alike. Even the Corning Museum of Glass (CMOG), Corning, New York, couldn’t resist Puchowitz’s work and recently acquired his Hot Rod Derby Car #2 for its permanent collection. This functional pipe in the form of a hollow, colorless flameworked car features a bald eagle, two conical black and colorless headlights with diamond-patterning, and a rectangular red-, white-, and yellow-striped license plate reading “WOODY” applied to back. The main character is a flameworked rider with rubber boots, exposed midriff, red fabric bandana, black mohawk with red and yellow tips, and

“To have even a brief conversation with artist Michael E. Taylor is to dive headfirst into a deep pool of scientific and intellectual inquiry. Taylor has always been an extremely analytical artist, responding with equal fervor to his intellectual encounters with scientific ideas, art history, philosophy, or current events. Whether inspired by formal quality of geometry, the Higgs boson particle, or the moral implications of artificial intelligence, Taylor’s work is ultimately about investigation.” – Museum of Glass, Tacoma, solo show, Traversing Parallels, 2017/2018. Widely-renowned for his cut and laminated glass works, geometric constructions, and fractal abstractions inspired by everything from subatomic particles to music, Michael E. Taylor first used glass while attending a workshop at Penland School of Crafts in North Carolina. He was struck by the material’s heat and spontaneity, a dynamic opposite from the deliberate and extended processes for firing and shaping ceramics. Dedicated to art and educatio

During a 2011 lecture by John Moran, Krista Israel had an epiphany. The artist realized that through her art it was possible to offer an opinion on social issues. Thoughts and feelings that are difficult to put into words become one’s voice through the creation of art. To this end, she employs the techniques of casting, flameworking, and pâte de verre, using the natural characteristics of the different glass techniques to express her thoughts, sometimes in combination with other materials such as cloth, computer parts, plastic toys, even a chair. Israel states: “Glass art doesn’t necessarily have to be shiny and pretty. This material, which is known for those properties, can also be used in a completely different way. For me that was an aha moment, which certainly influenced the series of critical works on social media and rapid technical developments that I made in the following years. In life we go through stages and changes; that also happens in the works you make.” During the pandemic lockdown, Israel’s a

Throughout Kathy Jordan’s career, education via workshops and hands-on experience has kept her approach to glass fresh and informed. Her training is the beneficial byproduct of many workshops, including a decade of Richard Millard’s glass painting instruction held at his Antrim School in New Hampshire, intensive China painting study, and master instruction internationally. Antrim inspired Jordan to teach others by providing the same kind of camaraderie combined with intensive glass painting instruction. Jordan states: “If I had gone to an art college or university when I graduated high school, I would not be involved in glass today. My education has been unconventional, but most certainly degree worthy.”  At home in Media, Pennsylvania, Jordan is wife, mother, and artist. The success of her studio, The Art of Glass, Inc.,rested upon her multifaceted talents in visual arts, historical research, technology, and entrepreneurship. Jordan’s studio completed projects in churches and public spaces from Barbados to M

Martin Blank’s early figurative work swiftly solidified his place as a premier figurative sculptor working in glass. The artist expanded his contributions to the contemporary glass scene in 2001 when he introduced his sensual and fluid abstract landscapes. An innovator with an intense drive to create and to push his material, Blank’s influences include glass masters Pino Signoretto and William Morris and artforms as diverse as origami and opera. Blank states: “My work explores what I call visual mirroring. It deals with abstract forms and their spatial relationships. Mirroring is the way two juxtaposed objects relate to one another. There is a dialogue that is created between these forms. A tenuous and tactile presence is created. It is the resonating voice. Each shape relates to its adjacent partner. In this intimate stage, each element has the ability to affect and echo the other. There is a moment when these objects reach their peak visual potency. This is the essence of what is revealed while I create.” B

The Glass Art Society (GAS), Inc. is an international organization whose mission is to encourage excellence, to advance education, to promote the development and appreciation of the glass arts, and to support the worldwide community of artists who work with glass. Since 1971, GAS has been using the joy of glass to connect, inspire, and empower all facets of the global glass community.  From the early days of the American Studio Glass movement to the upcoming United Nations’ International Year of Glass, GAS continues to foster connections that last a lifetime. This year’s gathering – held in Tacoma, Washington, from May 18 – 21 – celebrates 50 years of Glass Art Society. With the theme Between Here and There, this milestone conference will explore the past five decades of glass and what the next five decades will hold for making, collecting, and educating.  GAS Executive Director, Brandi Clark, says: “This will be one of the most exciting GAS conferences yet. GAS will be celebrating its 50th Anniversary, it is

Cappy Thompson is an internationally acclaimed Seattle artist known for her mythopoetic narratives on glass created via the grisaille painting technique. Early in her career, she was drawn to the images and symbols of the medieval period, inspired by the Christian tradition of Western Europe as well as the content of Hindu, Pagan, Judaic, Buddhist and Islamic painting. In more recent years, the artist has moved away from mythological narrative and toward compositions on vessels that draw upon images and themes from her personal life. Thus began an autobiographical exploration of world culture and spirituality that continues to the present. Thompson states: “For me, as a narrative painter, the issue has always been content.  The issue wasn’t glass, the material that I chose some 45 years ago. Nor was it the painting technique—grisaille or gray-tonal painting—that I taught myself to use. My work—which spans several decades and a variety of scales from the intimate to the monumental—has always been driven by con

One would be hard-pressed to think of any other artist working with glass whose work reflects as many varied and compelling styles as Dan Dailey’s. From vessel forms to his Individuals to lamps, sconces and chandeliers, these beautiful, sometimes humorous pieces dazzle through a combination of colored glass and intricate metal work. No matter the format, Dailey’s work expresses humanity, historical reference, and reverence for the natural world.  Dailey credits his successful career to his education in the arts. Born in Philadelphia in 1947, he attended Philadelphia College of Art, where he encountered glass through ceramic teacher, Roland Jahn, and discovered a mentor in William P. Daley, who taught basic design and color to his freshman class. Dailey, who completed graduate studies at Rhode Island School of Design (RISD) as Dale Chihuly’s first graduate student, says: “Under Chihuly’s influence, I focused totally on glass. That was a breakthrough for me. It was a lucky time for me to be there.’’ Following g

In his role at the Corning Museum of Glass (CMoG), Eric Goldschmidt gives demonstrations in flameworking, glass breaking, and optical fiber, in addition to teaching, lecturing, and exhibiting his work around the world. In the winter of 1998, he took his first formal class in flameworking with Roger Parramore at the Museum, which opened his mind and illustrated the possibilities of what could be done with the material and processes. In 1993, with the goal of gaining residency to attend The University of Vermont, Goldschmidt relocated to the state and found work as a short-order cook, then as a candle maker. As a Dead Head, he had seen Snodgrass pipes in the early ‘90s, and his roommate at the time had worked with Chris Shave, one of Snodgrass’ early students in Oregon. With a torch set up in the garage, Goldschmidt began making mushroom pendants and marbles, working hollows, and by 1996 making his own pipe work.  Goldschmidt began working for The Studio of The Corning Museum of Glass in 2001 and returned to wo

Executive Director of the Stained Glass Association of America (SGAA), Megan McElfresh has dedicated her professional life to community service and the art and science of stained glass. With a background in fine arts and operations management, she joined the Association as a professional member in 2015 and became the Executive Director in the fall of 2017. Growing up in small stained glass studios, McElfresh continued to build on her technical skills in the medium by seeking mentorship opportunities throughout college. Some of the highlights of her glass studies were traveling to Pilchuck Glass School and time spent at the nationally recognized kilnforming resource center, Vitrum Studio. Prior to working with the SGAA, McElfresh worked in a variety of roles from operations management at a life sciences firm in Washington, D.C. to IT and web support for small non-profit art organizations.  In 2011, McElfresh moved from Northern Virginia to Buffalo, New York, and founded her studio, McElf GlassWorks. With a pas

Alexander Rosenberg rose to national prominence following his incredible run on the Netflix glassblowing series Blown Away, where he was among the final three contestants. His laid-back attitude, intelligence, and commitment to mining the history of the form and genre for deeper connections and stories left a lasting impression on viewers. This attention to the philosophy and historical detail of glass sets Rosenberg apart – not only on the show, but in his studio practice. Glass is at once archaic and high tech – a mixture of poetry and functionality. On Blown Away, Rosenberg often strayed into the realm of historical and scientific objects like beakers and containers for exotic plants. He won the first challenge and a Pilchuck residency with his Lachrymatory, a “tear-filled” vessel that magnified like a lens a photo of his late dog, Cleo. He capitalized on the material’s absence, allowing us to see the inside and outside of an object simultaneously. Wrote Ben Dreith, for Nuvo: “Rosenberg’s preference for ex

Creating playful objects and curious scenes inspired by childhood memories and dreams, Caterina Weintraub uses glass, a fragile and heavy material, to recreate iconic toys or re-imagine personal memories that evoke a sense of sentiment, wonder and discomfort. She utilizes a variety of techniques to create sculptures and installations in her Boston-based studio, Fiamma Glass. From intricate torch work to large-scale kiln castings and hot blown pieces, she chooses the process best suited to realize her vision. Fiamma Glass Studio was established in 2010 in Newton, Massachusetts, by native Bostonians, David and Caterina Weintraub. Both are graduates of Massachusetts College of Art & Design, where they met over 13 years ago. Fiamma Glass Studio offers flameworking and glassblowing instruction, design, fabrication and consultation.  Caterina’s glass experience includes internships with Dan Dailey and Bel Vetro Glass, Brockton, Massachusetts. She has been awarded scholarships to the Corning Museum of Glass, Pen

With the magical beauty and slight foreboding akin to Tolkien’s Fangorn Forest, the painted and stained glass panels of Petri Anderson entrance the viewer with their mystical lighting and woodland content. A stained glass artist working from his studio in Hertfordshire, UK, Anderson’s inspiration comes from two primary sources: the wealth of 19th– and early 20th-century British stained glass and the woodland habitats of his Finnish roots. Beginning in 1989, Anderson studied restoration glass painting under Peter Archer and Alfred Fisher, and in the late ‘90s succeeded Archer as head designer and painter at Chapel Studio in Hertfordshire. Currently heading his own studio, Mongoose Stained Glass, Anderson undertakes domestic and ecclesiastical commissions as well as restoration, producing work that can be seen in churches, livery companies, schools and private homes. Liturgical projects include the Pat Salvage memorial window for St. Nicholas Church in Kelvedon Hatch, which received a diocesan award for design,