Natali Rodrigues is an Associate Professor (glass and drawing) at the Alberta College of Art and Design. She received her MA(VA) from the Australian National University in 2003, and BFA in 1999 from ACAD. She has an active practice investigating liminality, silence, and transformative experience. Her objects and drawings have been exhibited in North America, Europe, and Australia.
Natalie joined the Glass Art Society Board of Directors in March 2014 and became President in June 2017.
Stephen Rolfe Powell is professor of art at Centre College. He has taught at Centre since 1983. He was named 1999 and 2000 Kentucky Professor of the Year by the Carnegie Foundation for the Advancement of Teaching and the Counsel for Advancement and Support of Education (CASE). He has held a Stodghill Endowed Professorship since its inception in 2004. In 2004, he was awarded the Acorn Award for outstanding professor at a Kentucky college or university. In 2012, he was awarded the Distinguished Educator Award from the James Renwick Alliance, Washington DC.
Powell has been featured on CBS-TV’s Sunday Morning and Kentucky Educational Television and in print media including American Style, Glass, Ceramics Monthly, and Kentucky Monthly, which named him one of Kentucky’s top 20 artists of the 20th century. Powell was one of eight Americans chosen for the Venezia Aperto Vetro 1998, a prestigious glass exhibition in Venice. He demonstrates his technique around the country, including at the 2002 Winter Olympics in Salt Lake City, Utah. Powell secured donations and then supervised student construction of a state-of-the-art hot glass studio in Centre’s new visual arts center (opened in 1998). The Centre College glass program has hosted many visiting artist including Dante Marioni, Janusz Pozniak, Richard Royal, James Mongrain, Richard Jolley, Marvin Lipofsky and Lino Tagliapietra eight times. Centre awarded Lino Tagliapietra an honorary doctoral degree in 2004. During sabbatical leaves from Centre, Powell has been a guest teacher and artist in the Soviet Union, Australia, and New Zealand. Powell studied at The Provincetown Painting Workshop, received a B.A. in painting and ceramics from Centre, and an M.F.A. from Louisiana State University.
Powell joined the Glass Art Society Board in June 2015.
Lascivious Torrid Cleavage, 41.25x25.25x14.5 inches, 2003
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was born and raised in Chicago. She is currently the founding glass studio instructor and lead artist at the Little Black Pearl Art and Design Academy. At LBPA she teaches high school glass and sculpture classes to youth from Chicago’s South Side. At LBPA Ms. Kirchmann has designed and implemented a variety of therapudic, economic and educational glass programs which have benefitted her students across the board. Ms. Kirchmann graduated with a BFA in glass from Southern Illinois University in Carbondale and has benefited as both a student and teacher’s assistant at Pilchuck Glass School. She has an MFA in Sculpture from Western Carolina University in December of 2010, and graduated with honors. As a graduate student, she focused on the research and development of the Jackson County Green Energy Park where she built a green glass studio powered by the methane from the park’s landfill. www.blackpearl.org
Tracy served as Student Representative to the Board in 2009-2010, and joined the Glass Art Society Board of Directors in March 2014. She became Vice-President in June 2017.
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John Kiley began his professional career at the age of 19 at The Glass Eye Studio. Promoted to Gaffer on Dale Chihuly’s chandelier team at the age of 21, he travelled to Finland, Ireland, Mexico and Italy as part of the Chihuly Over Venice Team. He was a principal member of Lino Taglipietra’s team until 2011 when he became the Glass Director at the Schack Art Center in Everett, WA. In addition to his work with Chihuly and Tagliapietra, John has worked with Dante Marioni and Benjamin Moore and has been a teaching assistant to Lino Tagliapietra, Dante Marioni, Benjamin Moore, Richard Marquis, Josiah Mcelheny, & Checco Ongaro. He has been a visting instructor at the National College of Art and Design in Dublin, Ireland, The Bezalel Academy of Art And Design in Jerusalem, Israel, The Pittsburgh Glass Center and Pratt Fine Arts Center in Seattle, WA. He has worked and demonstrated in Finland, Ireland, Mexico, Italy, Japan, Bulgaria, China, Australia, Brazil and Turkey. He has exhibited his work at galleries around the world.
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Jessica Jane Julius objects, installations, and drawings reflect on the anxieties of the digital through returning to the analog. Working in a wide variety of media including found, hot, and cold glass, flameworking, and rub-on dry transfer letters, her work attempts to make meaningful connections amidst the noise, to transform the intangible into tangible, and to create balance by applying chaos to order and order to chaos. Julius is currently a Professor at Tyler School of Art in the Glass program, a part-time Exhibition Director at a grassroots gallery in Philadelphia, and the co-founder and active member of the artist collective The Burnt Asphalt Family. She has been published in the New Glass Review in 2001, 2008, 2009, 2010, and 2012, received the Emerging Artist Award from the Glass Art Society, and received CGCA fellowships from Wheaton Arts Creative Glass Center in 2007 & 2011 and Museum of Glass residency in 2013. Her work has been included in numerous national exhibitions including “Craft Spoken Here” at the Philadelphia Museum of Art. She lives in Philadelphia with her husband and son.
Alex Gabriel Bernstein
grew up in a creative environment with access to many of the artists of the American studio glass movement. As the child of two established glass artists, William and Katherine Bernstein (Billy is one of the founding members of the Glass Art Society), the beautiful surroundings of the Blue Ridge Mountains in Western North Carolina where they lived played almost as much of a part in his inspired upbringing as did the breadth of teachers around him. Alex studied psychology at the University of North Carolina in Asheville and worked at a children’s psychiatric hospital before making the decision to purse his artistic endeavors full time. He received a Master of Fine Arts from the Rochester Institute of Technology’s School for American Crafts and went on to teach at the Rochester Institute of Technology, the Cleveland Institute of Art, the Penland School of Crafts and The Studio at the Corning Museum of Glass. Most recently Alex was the Department Head of Glass at the Worcester Center for Crafts in Massachusetts but he made the decision to return to his Asheville hometown in 2007 to set up a studio and focus on creating his own work full-time. Bernstein has recently mounted solo shows at Chappell Gallery in NYC; Hooks Epstein Gallery in Houston; Habatat Gallery in Royal Oak, Michigan; and the William Traver Gallery, Seattle. His work is included in numerous collections, including those of the Corning Museum of Glass, the Glasmuseum Frauenau in Germany, the Mellon Financial Corporation, the Museum of Fine Arts in Boston, the Philadelphia Museum of Art and the Palm Springs Art Museum. www.alexbernsteinglass.com
Alex joined the Glass Art Society Board of Directors in June 2012 and became Secretary in November 2013
Kelly Conway was appointed curator of American glass at The Corning Museum of Glass (CMOG) in 2013. Her research focuses on the history of American glass from the late 18th century through the early 20th century. Conway is currently working on the museum’s forthcoming exhibition and accompanying publication, Tiffany’s Glass Mosaics, opening May 20, 2017. Previously, she was the Carolyn and Richard Barry Curator of Glass at the Chrysler Museum of Art in Norfolk, Virginia, from 2007 to 2013. There, she curated several special exhibitions and was a key member of the team that established a hot glass studio at the museum in 2011. Conway also led the design and reinstallation of the new glass collection gallery at the Chrysler, and is a contributor to that museum’s forthcoming publication, Glass: Masterworks from the Chrysler Museum of Art.
Conway received a master’s degree in the history of decorative arts at the Smithsonian Institution and Parsons School of Design and a Bachelor of Arts degree in American history from DePauw University. She lectures extensively on the history of glass and is a member of the International Council of Museums as well as the Association of Art Museum Curators, and is on the board of directors of the Glass Art Society.
Conway joined the GAS Board of Directors in June 2015.
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has an international art practice based in London. He works predominantly within the medium of glass with the added elements of film and photography. Exhibiting internationally, Matt Durran's art work is often revealed through large-scale installations, sculptures and photo-grams which capture the inner world of transparent objects. The installations are predominantly site-specific and constructed from many individually made components creating large-scale multi-faceted pieces. His sculptures are mainly represented forms of the familiar, placed in a context that visually explores and challenges habitual perceptions. The photo-grams show the structure of transparent objects. Many of these objects are created by Matt solely for the purpose of displaying their internal structure. By the manipulation, degradation and stressing of the glass, Matt conjures up new landscapes within the internal characteristic of the material, thus rendering the original glass object unstable and therefore, unable to be shown in a public setting. What's on display is a captured image of this internal landscape. Matt's film collaborations have resulted in several awards notably the The Blessed Factory, set in Russia and winner of the Montpelier Film Festival Glass prize 2012. It represents the language of industry and the artist. For the last few years, alongside his art practice, Matt has been working with leading surgeons and researchers at the forefront of the world of tissue engineering. www.mattdurran.com
Matt joined the Glass Art Society Board of Directors in March 2014.
Nose Mouldings, 2012, slumped glass
Michael Hernandez's work combines materiality and symbology to make commentary on nature and the human condition. Hernandez has been working in glass since 1996. His work employs glass in a range of approaches and media through sculpture, installation, and light-based works. He earned his BFA in Glass from Emporia State University (2003) and his MFA in Sculpture/Dimensional Studies from Alfred University (2010). Hernandez is currently Assistant Professor and Head of Glass at Palomar College in San Marcos, CA.
Ed Kirshner of Oakland, California was born in New York City in 1940. He studied architecture and sculpture at Cornell University, the University of California at Berkeley and the Oskar Kokoschka School of Vision in Austria. After thirty years of developing and financing affordable housing, he returned to study art at the California College of the Arts in Oakland as well as at Pilchuck and Corning glass schools and Northlands Creative Glass in Scotland. His glass and gas plasma sculptures have been exhibited throughout the U.S. as well as in Taiwan, Japan, Australia, Austria, France, Luxembourg, Switzerland and Turkey. His work, “Cone of Chaos”, was a Corning Glass selection and is included in Corning's "25 Years of New Glass Review." His plasma sculptures are in the permanent collections of the di Rosa Fine Arts Preserve in Napa, California, the Swiss National Science Center, Technorama, near Zurich and the Chabot Space and Science Center in Oakland. Ed has taught glass and gas plasma workshops in the U.S. as well as in Asia and Europe and is on the faculty of the Crucible Fire Arts School in Oakland and, previously, the Glass Furnace in Turkey. He has also been a Trustee and the Treasurer of the Museum of Neon Art (MONA) in Los Angeles and is currently on its Technical Advisory Board. www.aurorasculpture.com
Ed joined the Glass Art Society Board of Directors in June 2012 and became Treasurer in November 2013.
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established Cutting Edge Products, bringing more than twenty years of experience in the industrial arts to his company. He began working with glass in 1977 at Orient & Flume Art Glass. Inspired, he started making tools for glass artists under the name Random Specialties. Random Specialties was, indeed, random. Besides making tools, Jeff had commissions for kinetic metal sculptures and produced a line of decorative wrought iron. Because bicycle riding was his passion, he built a few bicycle frames. Later he designed and built bikes for off-road riding. In 1980, Jeff was one of three frame builders to debut a mountain bike at the International Bicycle Dealer Trade Show. Mountain bikes were the hit of the show, and he had more orders for his "Mountain Goats" than he could fill. Jeff turned his efforts to bicycle manufacturing. Over the years, he won awards for innovative frame design and artistic paint finishes. His reputation with Mountain Goat owners all over the world was built on quality craftsmanship. In 1989, Jeff was inducted into the Mountain Bike Hall of Fame. Eventually, Mountain Goat Cycles evolved into Altitude Cycle Technologies. As general manager, Jeff supervised the production of frames for Schwinn, Kona, K-2, and other well-known companies. While this was exciting, he missed the actual hands-on fabrication and design process. During the bicycle manufacturing years, Jeff had many requests for his glass tools. In 1998, he established Cutting Edge Products and has dedicated himself to the evolution and production of tools for the glass artist. It is Jeff's experience and our commitment to excellence that enable us to confidently say—our tools are the best. www.redhotmetal.net
Jeff joined the Glass Art Society Board of Directors in September 2013.
graduated from the Cleveland Institute of Art in 1991. He has been a full time studio artist until his recent appointment in 2014 as the Assistant Professor and Chair of Glass at The Cleveland Institute of Art. Although Petrovic primarily works with glass, a material most commonly viewed as a craft medium, he strives to make content driven work that stresses ideas above the seductiveness of the material. Petrovic states, “My pieces revolve around ideas that both intrigue and befuddle me. The work serves as a way to contain and continue a dialogue. They are a visual diary of ideas and concerns from my life. At the nucleus of each sculpture is an idea around which the piece grows, the way a grain of sand can aggravate an oyster enough that it creates a pearl.”
Petrovic’s work is in the permanent collection of The Museum of Arts and Design, The Corning Museum of Glass, Tacoma Museum of Glass, and the Niijima Museum of Glass. He works closely and sometimes collaboratively with his wife Kari Russell-Pool, who is also a CIA graduate and artist. They have two wonderful children, Phoebe and Kay, and two above average dogs, Pixie and Roux. www.marcpetrovic.com
Marc joined the Glass Art Society Board of Directors in March 2014.
Avian Pair #3, 2011. Hot sculpted and blown murrini roll-up. 9"h x 15"w x 10"d
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Charlotte Potter is the Glass Studio Manager and Programming Director at the Chrysler Museum of Art. A conceptual artist and designer, she received a BFA from Alfred University and an MFA from the Rhode Island School of Design in 2010. Trained as a traditional glassblower, Potter is a pioneer in developing glass as performance medium. Along with the staff at the Chrysler Glass Studio, Ms. Potter has developed the acclaimed, Third Thursday Performance Series, now reaching a worldwide audience. Her work is an investigation of the interstices of human connection and has been exhibited at institutions such as The Oklahoma City Museum of Art, Boston MFA and the Shelburne Museum. Currently Charlotte is working towards exhibitions at (AiPAD) in New York and the Wichita Museum of Art.
Potter joined the Glass Art Society Board in June 2015.
Image Credits: Left - Portrait by photographer Echard Wheeler. Right - "Armor" 2014, 60x48x14 inches, Microscope slides, photo decals of the artist's skin, urethane, sterling silver.
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Award winning artist, designer, craftsmen and educator, Lynn Everett Read
has focused on glass working for more than two decades. Lynn’s early pursuit in watercolor paved the way to an interest in glass because of its transparency of color, optical intrigue, malleability and material versatility. His creative spirit and passion for glass has intensified since his first apprenticeship in a glassblowing studio while achieving a BFA in Sculpture from the Maryland Institute college of Art. His diverse artistic background ranging from painting, sculpture, woodworking and theatrical set-building continues to play an important role in Lynn’s inventive approach to glass working. He has earned a highly regarded reputation for distinctly creative work that employs a wealth of techniques. With work in public and privet collections as well as numerous periodicals his work has remained fresh and inspired buy the process of discovery working with glass.
Vitreluxe Glass Works was founded by Lynn in 1999 with the desire to build an advanced glass studio with some unique alterations to allow for versatility and efficiency. The name Vitreluxe was derived from two words: vitreous, the brilliant luster of glass and deluxe, the mid-century benchmark of quality. Since the studio’s first spark ignited, Vitreluxe has grown into a maker's mark of superior quality. Today the studio has implemented a system to melt glass with electricity that is generated from 100% renewable energy. Each piece is handmade in Portland, Oregon by Lynn and a dedicated team of artisans that take pride in the details and is signed with the Vitreluxe inscription. Lynn has reserved his namesake for one of a kind and limited edition pieces of functional and artistic works.
Lynn joined the Glass Art Society Board of Directors in June 2016.
Script #2, #3
Left: 17" x 3" x 9", Right: 20" x 3" x 8"
Hot worked, Flat worked, cold worked glass
Permanent collection: Muskegon Museum of Art
Masahiro Nick Sasaki
is a Japanese glass artist. He was born and lives in Nagoya. He studied glass art at Aichi University of Education and Toyama Institute of Glass Art. After working at Utatsuyama Crafts Workshop as studio coordinator for five years, he taught glass art at Osaka University of Arts and Nagoya University of Arts for five years. Currently, he is teaching at Aichi University of Education as associate professor and has headed the glass program there since 2008. Sasaki has won a number of honors, including the award of Grand Prix’ from the Exhibition of Contemporary Glass Koganezaki 2009, a merit award from the International Exhibition of Glass Kanazawa 2010, and a merit award from the World Exhibition of Arts and Crafts Kanazawa ‘99. His work was featured in New Glass Review 30 and 31, and has been exhibited and collected nationally and internationally. Sasaki joined the Glass Art Society Board of Directors in March 2014.
Jan Mirenda Smith
has been in the museum profession in various capacities for the last 25 years. She holds an MA in Fine Arts in Painting and Drawing from the University of Wisconsin-Milwaukee, and a Certificate in Museum Studies. She is currently Executive Director of the Bergstrom-Mahler Museum of Glass in Neenah, Wisconsin, was previously Director of Rahr-West Art Museum and formerly curator at Bergstrom-Mahler Museum. She has written for a variety of publications, organized numerous exhibitions, both in glass and other art forms, and is a practicing painter. She has done much work in the area of visitor interpretation for general audiences and museum education, and continues research in areas of creative thinking skills to present the artist as entrepreneur and innovator. bergstrom-mahlermuseum.com
Jan joined the Glass Art Society Board of Directors in March 2014.
David Willis: An independent artist, Willis received a BA in 1992 from U.C. Berkeley in social change, with a minor in conservation and resources studies, and began flameworking glass in 1994. He has been an instructor at locations including Pilchuck Glass School, The Studio of The Corning Museum of Glass, and Penland School of Crafts, a Visiting Artist in Residence at the Museum of Glass in Tacoma, Washington and a featured artist at the Niijima International Glass Art Festival and the International Flameworking Conference. Willis is included in books and collections nationally and internationally and has been featured in publications including New Glass Review, ARTnews, and American Craft. He lives in Portland, Oregon with his wife, Erika and their dogs, and his work is represented by Austin Art Projects. Willis serves on the Artistic Program Advisory Committee for Pilchuck. He feels very fortunate to have had many generous people contribute to his understanding and for the support that enables him to make his work.
Willis joined the Glass Art Society Board of Directors in September 2013.
Born in Toledo, Ohio, Ian Messenger Schmidt grew up in the household of two glass artists, Shawn Messenger and Jack Schmidt. Their studio was his playground and the space in which he discovered a love of making. Glass to him is not only a material with which he works, it is the sustenance through which his family provided a home. His undergraduate studies began at the School for American Crafts in Rochester, New York. The institution's intensive focus on craft-based processes gave Ian the tools with which he was able to discover the broader context for art and craft. Craft as a thinking space has been the main objective in his work with references to architecture and the built world providing themes through which an observer can critically analyze how we have constructed a society. After college, Ian began working for the Corning Museum of Glass as a demonstrating glassblower. At Corning, he had the chance to work with various outreach programs such as the Glass at Sea program as well as GlassLab. Both mobile studios that traveled throughout the country and the world to educate the public about glass history as well as processes. This time gave him the opportunity to visit many glass studios around the world, from the Caribbean to Europe, Australia, New Zealand, and Turkey. This experience formed his global perspective on glass as a medium. In 2015, Ian was accepted to Tyler School of Art’s glass program and is now currently in his final year. The studies he is currently engaged in are how craft as a tool can engage in a conversation that speaks to a type of humanism in contemporary society. In exploring new technologies as well as traditional means of making, he is interested in searching for poetic means of expressing political ideas.
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