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.


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

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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.


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.


Moje with students at the Pilchuck Glass School, 1997.

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