Introducing New Talent
Each year the Glass Art Society selects a few emerging artists to present lectures at its annual conference. Through these lectures, artists with promising talent are afforded the opportunity to introduce their work to a large audience of established artists, educators, peers, collectors, art historians, and critics. Educators and Museum Curators are asked to nominate individuals who meet certain criteria and those nominees are contacted and requested to submit applications. A jury of professionals review all the applicants and determine the presenters for that conference.
2014 Emerging Artists Presenting in Chicago
Conference attendees may listen to the Emerging Artists Presentations on Friday, March 21st from 8am-9:30am, in the Palmer House 6th floor Monroe room.
Special thanks to our 2014 Jurors: Clare Belfrage
and Julie Muñiz
Steven Ciezki "Trio" | Karen Donnellan "Enso II" | Charlotte Potter "Cellular Reliquary"
In the coming weeks the first ever Emerging Artists Catalog, featuring these three artists plus select notable applicants, will be published online.
Below are excerpted artist statements, please refer to the online catalog for full details.
Steven Ciezki, Ohio
I create three-dimensional geometric glass objects that produce perceptual illusions through spatial 'drawings'. Each piece, when viewed from a particular monocular vantage point, coalesces into the semblance of two-dimensional representation. This is my attempt to break free from these mundane experiences and impose meaning onto all of the noise and randomness in the world. I am recreating points in our life when everything lines up. I am asking: “If it will get there, can it get there, and most importantly will it ever be that perfect again?” These are the moments we cherish. In the world, when objects line up at one monocular viewpoint, both near and far, I want to think that someone or something put it there for me to find. Take a different route to work or go for a walk to realize how new visual stimulation seeks dominance over this irregular experience. We follow such a tight schedule that it denies us the ability to appreciate these little gems in our surroundings.
Karen Donnellan, Ireland
Karen Donnellan's work is informed by the metaphysical. The potential for healing through the manipulation of energy and material are the driving forces behind her work. Points of departure include the Flower of Life, Tibetan Sand Mandalas and the Zen Ensõ, each of which uses the circle as a symbol of balance and enlightenment. The role of glass is also crucial to Karen's practice, given its ability to speak of the mystical. Her practice comprises a wide range of media including kiln-formed and blown glass, iron and bronze casting, wood turning, sound, film, performance and photography. The making process is integrated wtih the concept in which intricate, repetitive methods are treated as a meditation or mantra.
Charlotte Potter, Virginia
My work explores the space between my self and the other, both tangibly and metaphysically. In my current studio practice I struggle with duality, so it is only fitting that glass, a prominent material within my work, has binary qualities cloaked with competing characteristics: liquid and solid, elastic and brittle, captivating and humbling. I am constantly looking for historical references, relevance, and reasoning for using this material. My works begin with historical model, paying homage to traditional glass techniques, or industries that have used glass, which I refashion to create commentary on our present moment in time. The human desire and dilemma to bridge the unfathomable distance between each other is at the heart of my investigation.
Former Creative Director of Canberra Glassworks in Australia
Inspired by experiences of detail in nature, Clare Belfrage’s work has been distinguished by the use of fine glass threads to draw complex linear patterns on the surface of blown glass forms. She has maintained a vibrant practice for over twenty years. She has been an active participant in artists’ communities including the glass based studio blue pony,
SA, of which she is a founding member and, the JamFactory Glass Studio community in Adelaide. She is currently living and working amongst the artist community of Canberra Glassworks where she plays the pivotal role of Creative Director. She has had a long involvement in education and has lectured in the glass programs at Curtin University, WA, University of South Australia, SA, and Ohio State University, USA. She has also taught various workshops throughout Australia and at Pilchuck International Glass School, USA.
In addition to Australia, Clare regularly exhibits in North America, Europe, Hong Kong and New Zealand. Her work has been recognised for its innovation and originality and in 2005 and, 2011, she was awarded the Tom Malone Glass Prize by the Art Gallery of Western Australia. Clare’s work is represented in major public collections including: Australian National Gallery, Canberra, Corning Museum of Glass, USA, Museo do Vidro, Marinha Grande, Portugal, Tacoma Museum of Glass, USA, National Art Glass Collection, Wagga Wagga, ArtBank, NSW, Art Gallery of South Australia, Art Gallery of Western Australia, Museum and Art Gallery of Tasmania and Northern Territory Museum.
Julie M. Muñiz
Former Associate Curator of Design & Decorative Arts at the Oakland Museum of California
Biography - Julie M. Muñiz is the former Associate Curator of Design and Decorative Arts at the Oakland Museum of California where she managed the collection of historical and contemporary craft objects. At the OMCA, Ms. Muñiz oversaw the installation of craft, decorative arts, and design as the Museum underwent a major renovation and reinterpretation of its galleries. An avid lover of 3-dimentional art and design, she earned her MA from the Bard Graduate Center for Studies in the Decorative Art, Design, and Culture in New York City.
In 2012, Ms. Muñiz curated two exhibitions in honor of fiftieth anniversary of American studio glass: Playing with Fire: Artists of the California Studio Craft Movement at the Oakland Museum of California, and its companion exhibition Playing with Fire: The Art of Making Glass at the Oakland International Airport. She also co-organized with the Museum of Arts and Design, New York, the exhibition and publication Space, Light, Structure: The Jewelry of Margaret De Patta. Prior to coming to Oakland, Ms. Muñiz worked at the Museum of Fine Arts, Boston where she co-curated the exhibition Shy Boy, She Devil, and Isis: The Art of Conceptual Craft, as well co-edited and authored the accompanying publication. Other publications include Connecticut Valley Furniture: Eliphalet Chapin and His Contemporaries, 1750-1800 and Creative Spirit: The Art of Mary Tuttle Lindheim. A popular speaker, she has lectured on several subjects throughout the country.
The Glass Art Society reserves the right to deny applications for Technical Display, advertising participation, GAS membership or the conference from anyone for any reason.