Fused, Carved, Slumped: the subtle layerings of Jessica Loughlin | Artmakers

Fused, Carved, Slumped: the subtle layerings of Jessica Loughlin

 

In May 2002, Australian Jessica Loughlin returned to work in Bullseye's Research and Education Department studio in preparation for the most extensive exhibition to date of her meticulously crafted works in kiln-formed glass. For our technicians it was an opportunity to observe and learn from one of the most fanatically thoughtful kilnworkers you're likely ever to meet.

If ever there's been a purist on our premises it's Jess. As simple as the pieces eventually appear, every surface, every line, every unseen crevice has likely been worked to excruciating exactitude. "God IS in the details" and this is one artist on a pilgrimage.

 

Starting smart: pick the right parents.

Jessica began her career in the arts at a young age. With some unusual advantages. At five her parents—father an architect, mother a dancer—enrolled her in Japanese ink painting class. Hours spent grinding inks and learning to appreciate their limitless monochromatic shadings set a solid foundation for her future studies.

Years later as a student in the Canberra School of Art glass workshop she relentlessly pursued the image of the horizon line - and gained the technical tools needed to express this quietly powerful theme in glass.

A week after graduating from the Canberra program in 1997 Loughlin traveled to Portland as one of four Australians in Bullseye's first International Young Artists in Glass program. By 2001 she had received the UrbanGlass Outstanding New Talent award. At age 27 she has distinguished herself as among the best in the next generation of glass.

"Landscape : Mindspace"

The works created during Jess's May session at Bullseye joined others made in her Adelaide, South Australia studio for a solo exhibition titled "Landscape : Mindspace" that ran in our Portland, Oregon gallery from November 7 to December 7, 2002.

The masterwork of the exhibition, a 5-part series of draped panels titled "Vertical Lines 2" is being acquired by the Corning Museum.

"The educated harmony that radiates from Jessica Loughlin's glass stems from discipline, sensitivity and contemplation. She believes that objects have the power to inspire and to elevate; that their nuances can 'communicate an awareness which might otherwise be missed and perhaps influence someone to see the world in a more beautiful way.' Such clear and straightforward thoughts remind us of the universal purpose of art."
—From the exhibition catalog essay by Susanne K. Frantz,
former Curator of 20th Century Glass, Corning Museum