Emerging Artists Presentations
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.
2011 Seattle Conference Emerging Artists Presenters
Click to view the emerging presenter - Hiromi Takizawa
| Rachael Wong
| Edison Zapata
Click to go directly to the Juror bios and comments Pike Powers, Dena Rigby and Dr. Audrey WhittyListen to the Emerging Artists Presentations at the 2011 Seattle conference on Friday, June 3rd at the Washington State Convention Center - 4C (rooms 3&4) from 3:30 pm - 5:00 pm.Hiromi Takizawa
The visual dialogues that I engage in with my work explore a range of aspects that are inherent and specific to my Japanese cultural heritage. It often springs from my daily encounters with the subtle nuances and observable oddities of living in the “West”. These experiences have added to my self-awareness, and my sense of identity.
I’ve always been fascinated by the visual phenomenon that occurs when light is transmitted, reflected, and/or refracted on, in, and through glass materials. I integrate these observable optical phenomena into personal narratives; by using “the-perceptional-shifts” that only the quality of glass itself can generate.
My disciplined effort to observe, engage, and interpret my individual experiences will hopefully serve as a universal experience. I believe these individual experiences can reflect on our contemporary society and the cultures we find ourselves in where (and how we manage) to live in with our ever more complex feelings and with the conflicting emotions of our everyday lives. http://www.hiromitakizawa.com
I catch a moment and share it. Communication, play, and experience form my work. I establish concepts through process. Experience begins the creation of objects that look to create a new experience. My subjective experience transfers to your own relative personal experience. We are connected through experiencing and separated through the perspective of experience. I look to capture a shifting reality in installation, expanding possibility, revealing limitations. Imagination, memory, and emotion take hold.
I hold the shadow as a marker of what was, what could be, what may come. The shadow is emboldened or softened in color, given power and permanence, shifting the reality. Color occupies space, becomes surrounding, the intangible that demands physical attention. The shadow speaks of time, change, and movement. It is subtle, but persistent. Glass catches movement where the fluid is solidified and in so doing, the moment becomes embodied in the object. The work is then the physical remnant of experience, a manifestation of experience, creating experience. It is the moment, body for body.
I draw on the aesthetics of my experience within the context of my time and my culture. Meaning is flexible and ever changing, falling away and resurfacing in process and then in object and environment. Symbols morph, divide, and merge in flowing depth within the object. Informed by the knowledge and experience of process, the objects borrow from the visual language of culture, but insist on their own meaning. http://www.rachaelwong.ca
I am interested in the nature of failed communications and in the ways comprehension becomes distorted by cultural misunderstanding. I create work that engages the viewer with mixed media and installations that capture the imprecise transfer of information between people from different walks of life. This corrupted transfer of information is symbolized by reduced resolution of video images through pixilated glass screens, as well as through the manipulation of language and text.
I create work derived from my own experience as a foreigner. As a Venezuelan who has lived in Australia, Japan, and the USA for extended periods, I have evolved a foreign perspective that has given me sensitivity to issues in this area, especially issues of communication. After leaving Venezuela as a child, I experienced dislocation and assimilation while absorbing cultural changes. Though at times difficult, this process has provided me with three languages-- Spanish, Japanese and English--and this diverse cultural experience is a driving force in my artistic practice, that informs all of the work that I undertake.
My installations utilizing glass have taught me the techniques of glass manufacturing and traditional hand-blown and kiln-formed processes. The overlap of factory production, craftsmanship, and the practice of a contemporary artist are very important in my methodologies and outcomes, I use these various approaches to raise issues of cultural misperception. http://edisonzapata.com
Jurors for the 2011 Seattle conference Emerging Artists Presentations
The Glass Art Society would like to thank this years jurors, Pike Powers, Dena Rigby and Dr. Audrey Whitty, for their time and expertise. Below are their comments and biographies.
Artist, Educator, Past Art Director of Pilchuck Glass School www.web.me.com/Pikepowers
The Glass Art Society successfully secured three outstanding new comers to the arena of glass artists who each expressed a refreshing ideology and whose visuals stood out conspicuously above the others. Collectively, their work showed explorative risk-taking, and more edgy concept, technological skill and sculptural proficiency within the field of glass. I appreciated the imaginative range of experimental presentation formats of most of the juried portfolios. However the finalists had further developed inquiries and theories expressed in the ideas behind their works. This conscientiousness eclipsed the otherwise visual attractiveness of many of the applicants works. The three finalists, representing diverse backgrounds, are bound to provide the conference audience with a delightful mix of visual material and tangible concepts as food for thought. -Pike Powers
Pike Powers professes at the University of Bridgeport’s Shintaro Akatsu School of Design in Connecticut. Presently, she also operates a small public access art studio in Narragansett, Rhode Island. As Pilchuck Glass School’s former Art Director since 1993 she oversaw creative direction of 25th Anniversary Reunion and the 30th Anniversary Pilchuck Totem Pole in 2001. She envisioned Pilchuck’s educational philosophy growing toward the direction of fine art, leading to the inception of the second hot glass studio for casting and other media, and the new expanded kiln-casting facility. Her visionary programming gave design to two Art and Architecture Symposia, thus facilitating Stephen Holl’s execution of the Seattle University Chapel windows, the Professional Artists Residency and the J. Hauberg Fellowship. Expanding opportunities for education, she originated the Furnace Building workshops, and the Full-Bull(s’Eye) Sessions that provided developmental research for Bullseye Glass to create fully compatible colored glass for multi-technical applications in art making. Powers is known for bringing to the Artist Residency program world renown artists Maya Lin, Nancy Graves, Kiki Smith, Jim Dine, T.O.D.T. and Albert Paley and many more. Powers received her BFA from Rhode Island School of Design in Glass, her MFA in Sculpture from Yale University and a Prix-de-Rome Prize Fellowship upon graduation. Her work is exhibited internationally.
Art Consultant and Curator www.denarigbyfinearts.com
It was a pleasure to act as a co-juror for the Emerging Artist Presentations. There was a very interesting and strong mix of applicants that provided a great level of insight as to what emerging artists were focusing on in the international glass community. Many who applied gave a strong sense that younger artists are approaching the material conceptually and taking the application of glass to the next level. While the works by the three individual artists chosen are composed of engaging objects, these artists have used the objects in a way that has both substance and originality. These three help to bring the discussion beyond technique, and into a larger realm of contemporary fine art. Because of the unique qualities in their work, I felt they would each be interesting presenters at the conference. It is my hope that conference attendees enjoy these presentations and for everyone who applied: thank you and please continue on your unique paths of creativity.Dena Rigby is an art consultant and curator in Seattle. She has owned Dena Rigby Fine Arts LLC since 1998 with previous experience at Foster/White Gallery. Dena curates exhibitions for Winston Wachter Fine Art in Seattle, including the most recent “Exquisite Allegory” show. In 2009 Dena co-taught a class at the Pilchuck Glass School with Paul Marioni, Walt Lieberman, and Ron van der Veen. From 1998 – 2009 she acted as a consultant to Pilchuck for their annual Gala Auction Tours and has coordinated and led fine art tours for the Art Institute of Chicago (IL), the Fellows of Contemporary Art, Los Angeles, Garfield Park Conservatory (IL), Glass Alliance of Los Angeles (CA), the Glass Art Society (WA), the Long Beach Museum of Art (CA), the Los Angeles County Museum of Art (CA), the Museum of Contemporary Art (Los Angeles), the Orange County Museum of Art (CA), and the Orlando Museum of Art (FL). These tours have taken place in Seattle, Portland, Los Angeles, Louisville and New Orleans. Over the years Dena Rigby Fine Arts has managed a number of artists including Richard Royal, Benjamin Moore, and Preston Singletary, among others. Dena has sat on the contemporaries Board of the Museum of Contemporary Art in Los Angeles as well as the Steering Committee for the Henry Art Gallery contemporaries group. In 2010 Dena acted as the chairperson for Experience Music Project/Science Fiction Museum’s Tenth Anniversary Founder’s Award and has been a Board member of Seattle's The Service Board for three years. Dena has a BFA in Art History from the University of Florida.
Dr. Audrey Whitty
Curator — Glass, Ceramics & Asian collections, Art & Industrial Division, National Museum of Ireland — Decorative Arts & History www.museum.ie
Firstly, I would like to thank the Glass Art Society for asking me to co-jury this significant world renowned award. The standard of applicants was exceptionally high, and the three overall awardees are deserving of the opportunity to present their work to audiences in Seattle this June. One overall strength amongst the three winning artists is their highly developed conceptual approach to both the process and form of glass-making, whether installation or object-based. It appears that over the past decade in particular there has been a moving shift within glass art to concept allied with an exceptional level of technique and skill in the manipulation of the medium itself. The most heartening trait of the three artists chosen to lecture at the forthcoming conference is the extremely well thought out artistic conceptions evident in their different oeuvres. This fact alongside their representation of at least three nationalities should make for stimulating lectures. In other words, glass art within the so-called ‘fine art’ setting appears to be of a shared high standard internationally within this ‘emerging’ generation of artists. - Audrey Whitty
Dr. Audrey Whitty, Ph.D. is Curator of Ceramics, Glass and Asian collections at the National Museum of Ireland – Decorative Arts & History, Collins Barracks. She has curated several exhibitions, most notably ‘A Dubliner’s Collection of Asian Art: The Albert Bender Exhibition’ and the museum’s visible storage facility (approx. 16,500 objects), which showcases some of the most important collections of applied arts. A graduate (B.A.: History and Archaeology) and postgraduate (M.A.: Archaeology) of University College Dublin, she completed her doctorate at Trinity College Dublin on the ‘Albert Bender Donations of Far Eastern Art to the National Museum of Ireland in the context of his Cultural Interests in Ireland and California’. In addition to her role at the National Museum she has been appointed Irish Commissioner to both European Ceramic Context and European Glass Context (European Union-wide biennales of contemporary glass and ceramics) since 2006, which take place on the Danish island of Bornholm. She has published over forty articles (on both historical and contemporary topics of material culture) and lectured to such bodies/institutions as the Sorbonne, Paris; Trinity College Dublin; National Maritime Museum, Greenwich; SOFA, Chicago; National University of Ireland, Galway; the American Irish Historical Society, New York City; the Irish-Chinese Cultural Society; University College Dublin; National University of Ireland, Maynooth; and the National College of Art & Design, Dublin. In 2009 she became the first Irish woman to be appointed to the International Academy of Ceramics in Geneva as a result of her writing on contemporary ceramics. She is author of the forthcoming catalogue of the Albert Bender Collection of Asian Art, which will be published by the National Museum in 2011.
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