Monthly Archives: October 2009

Up Up and Away to SOFA Chicago.

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Just when we thought we were pretty smart, we learned another kiln-glass lesson. It’s a corollary to Lesson No. 1, which is: NEVER think you know what’s going to happen in the kiln.

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In fact, we sooooo know that we don’t know, that we always test before doing major projects.

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Breakfast!

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Just moments ago I found this blog post about a Roll-Ups class at Washington Glass School.

Nancy, you made my morning!

Glass wants to be big.

Think about it. Ours is a medium that by its very nature overflows its edges. Its containers refuse to contain themselves. The light reflected and refracted by a glass object can spill over into surrounding space. Not unlike architecture, glass can define space.

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Jessica Loughlin in Bullseye’s factory studio, caught between Ted and Tom, between horror and enthusiasm, between art and design, between a rock and a hard place…..

This defining ability of the material is probably why I am so drawn to glass objects that are about space – and why glass seems to me to so naturally speak the language of architecture.

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………..Don’t walk on the art!

Even if it’s designed to be walked on, climbing up the prototype Michael Rogers staircase would not be a good idea. We’ve suggested as much by making the treads much narrower than standard and starting their rise a couple of feet off the ground.

Plus, the stairs don’t go anywhere. (But lots of people say that about contemporary art).

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Klaus Moje at SOFA Chicago 2009

One key measure of a teaching artist is the caliber of his students. Klaus Moje – and the glass workshop that he founded at the Canberra School of Art in 1982 – has produced many of the most talented artists working in kiln-glass today.

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Moje with students at the Pilchuck Glass School, 1997.

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