At the risk of being charged a chromo-phobe (great book, risky political position on the eve of  BECon’s Chroma-Culture conference), I have to admit to a bias for a recurring aesthetic I observed at this weekend’s COLLECT fair in London.

Going monochrome in the middle of a kaleidoscopic fair may be the way to stand out.

Whether textile, ceramic or glass, the works that grabbed me did so by whispering – even while towering over me.

Piled Higher (and brilliantly) Deeper

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Last weekend we had a lot of excitement here at Resource Center Portland. Two amazing classes were held: Basic Kilncast Glass, taught by Jim Weiler, and Kiln Glass Components for Jewelry and Wearables, taught by Bonnie Celeste. Here’s a little peak:

kilncast glass

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We’ve just added a new lesson to Bullseye Kiln-Glass Education Online: Powder Printing (available now to BKEO subscribers)

Powder Printing

Powder printing is well suited to high contrast and graphic imagery.

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Last year we invited Tanja Pak, Slovenia’s Designer of the Year, to “fuse aesthetics to practicality” in a factory residency that would provide the content for her discussion with Bullseye’s lead fabricator Tom Jacobs on The Poetry of Production at this summer’s BECon conference.

Brian, Trevor, Ted, Tom, and Tanja: Day One

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We held our very first “Crash Course in Glass Cutting” recently at Bullseye Resource Center Portland. Check the class schedule for future classes, and get your glass cutters ready!

Tools of the trade.

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Hip to Be Square, taught by Stacy Lynn Smith, is a fun introduction to the powder printing technique.  Check the class schedule for the next session. Meanwhile, here are some action photos from a recent class!

A student prints an image.

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After we’d toured the kids around the glass factory a week ago, they spent some time in their school studio translating the experience with paper, pencil and clay. I was told that one of their Tour Guides (moi) made a big impression on them. A kind of doughy impression. Something between Francis Bacon and Mr Potato Head.

Moi or mwah?

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What I'm learning along the edge....

So, yesterday I’m standing in front of a dozen kindergarten kids who are about to take a tour of our glass factory.

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“When you model clay you’re ambidextrous – which also means, of course, that you’re using both sides of your brain. That’s not true with other art materials.”

The instructions were direct: shape the clay, think about feelings, put words to feelings, then to paper...

A group of us were visiting the Galisteo studio of New Mexico artist Judy Tuwaletstiwa (say “two wallets tea wah”) midstream in a group residency that Steve Klein and Richard Parrish led this past October in Santa Fe when Judy casually suggested that the group try an exercise. read more

Brian Bump warned the friends and relatives he invited to the Working Glass 2012 award ceremony that if he seemed nervous it was because he’d be doing “a performance piece.” Did he ever.

"I was pretty sure of the answer, but my knees were shaking on the way up the stairs."

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