Somewhere back in Portland, Oregon,  Susan, Janet and a dozen other serious-minded staffers at the Bullseye Glass Company imagine that their leader, Jim – in Chicago for Bullseye Gallery’s showing at SOFA 2009 – is working hard to uphold the supremely professional reputation of the company and the many fine artists its gallery represents.

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Wrong. Made irreparably giddy by the fumes of Sherwin-Williams #7048, the normally no-nonsense Mr Jones has been buzzing about the monkey bars all morning, drunkenly painting and repainting the endless corners and angles that make up the skeleton of Michael Rogers’ Beekeeper’s Staircase.

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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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I’ve been back in Caithness, Scotland at North Lands Creative Glass for a few weeks this summer…awed as ever by the quality of the light here at the 58th parallel and equally awed by the glass people I meet in this remote corner of Britain.

On a dash through the North Lands kiln-glass studios I spied an interesting set of tests at the worktable of an artist in the Bullseye Forum.


By purposefully casting wedges of varied colors together she’d created remarkable fades at the interfaces along the edge.

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