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Vestibule 102

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NOW PLAYING is 24 Frames Per Second, a video invitational organized by Gayle Forman, Suzanne Peterson and Charlotte Potter. It features clips from more than a dozen artists. That's James Akers above, playing his miniature electric glass cello.

Just inside the Glass Studio's front door is a gallery we call Vestibule 102. It's an area where local artists and Studio Assistants can show off their talents. And do they ever.

NOTE: Every day we're open, we host a free glass art demonstration at noon. Artists featured in Vestibule 102 generally headline a daily demo during the run of the exhibition.

Archive: 2017

• For Portraits in Glass, Sarah Vaughn produced abstract portraits of friends by striking glass with a hammer. "Like photographs," she said, "these panels have the ability to capture the emotions of their subjects. These cracks, like a person's flaws and personality, are what allow a flat, plain piece of plate glass to become dynamic, intriguing, and beautiful." Here's one such portrait and here's an overall view.

Hannah Kirkpatrick collaborated with Brett Henrikson on a project combining glass art and photography. Eye Camera is a glass box in which five sides are ambrotypes, positive silver images made on black glass. The final side is a collodion-coated plate, a negative silver image on clear glass. They drilled a hole on the ambrotype opposite the collodion plate to turn the box into a pinhole camera, and used the camera to take 16 pictures of the same North Carolina landscape at different exposures, a worked called Eye Scape. Because the camera includes a plate collodion image of a closed eye on one one side, the prints always superimposed a positive image of the eye on the negative image of the landscape.

• As a companion to a Third Thursday performance based on optics and colors, students from the Governor's School for the Arts exhibited their foundational works here. For an overall view of the work by Megan Hough, Abigail Signs, Abi Pierce, Angela Bird, Noelani Christy, Jeanelle Estanislao, and Devyn Hoshour, click here.

• As a companion to her Third Thursday performance, we hosted mixed media works by Gayle Forman. Here's a detail from It Was Supposed to be Greener, and here's a detail from A Hot Day at the Playground. Here's a wider view of the installation.

• For a month the exhibition space was held by a group show featuring our Spring 2017 Glass Studio Assistants. It included a Samuel Spees work, Luce del Sole, which is detailed here and shown in full here.

Also on view was Chow Down by Colin McKinnon, which included glass-art Cheetos and a Mountain Dew; Kari Lynn Schneider's Topsy-Turvy Tallulah, Brothers by Tzyy Yi Young, an untitled work by Aliya Zafar, Chau Wai Ting's Sodium and Silica, and Mollie Hansen's Bubblescape. When it comes to Yinan Chu's Symbolism: Volume 1, here's a detail and here's a full view.

Also included were two paintings by Ashley Berkman, It's a Tooth and Butt No. 1, a series of works by Elean Yang called Facet, and a cast-glass work by Jen Detlefson, Deeper Than Skin, that had a surprise on the back. Here's how the exhibition looked all together.

Staci Vella Katsias was formally trained in chiropractic medicine and spent two decades in private practice in Virginia Beach. In the 21st century, she's been studying drawing, painting, ceramics, printmaking, and most recently, glass. Here are seven of the nine works on display, and for close-ups of two of them, click here and here.

Archive: 2016

• We closed out the year with a pop-up shop by an artist collective calling itself For All Handkind. Many of these talented young artists are volunteers at the Studio, and among the many different items on display were collective-branded coffee mugs.

Eye of the Beholder by Kelsie McNair was a sugar-cookie-based artistic statement on a domestic stereotype of women. Here's a closer view and here's the artist with her work.

Apprehension Amassed by Suzanne Peterson was a look at the tension of vulnerability. Created from glass, nylon, and video, here's how it looked at night, and here's the artist with her work.

Meredith Lopez told a story of love and anguish in three pieces. Here's a wider view and here's the artist, on-screen and in-person.

Josh Johnson, inspired by Frank Stella's protractor paintings, combined that style with a common source of power today—WiFi.

Kelsey Finnie described her installation Organizing Chaos as part of a life choice to turn loss and loneliness into wonder and enjoyment. She said just as life seems to be a constant state of flux, so to glass as it moves from molten to rigid form. Here's a wider view.

• For Broken Body Study #2, Samuel Spees wanted to emphasize that just like the human body, glass is both strong and fragile at the same time. Here's a wider view of his installation.

Mollie Hansen, inspired by a bubble-decorated vase by Rene Lalique, produced Bubblescape, a three-part look at the life cycle of bubbles. For a wider view of the installation, click here.

• This was one elaborately layered installation: Lift Like a Princess by Jennifer Detlefson. The artist left it to the viewer whether the frilly pink dumbbells or princess cast-glass freeweights were a Disney irony, childhood dream, or feminist manifesto. There was a shelf for holding your tiara, mascara hidden inside of barbells, and even a camera for taking selfies (#LiftLikeAPrincess). Here's an overall view of the artist and her installation.

• For Fight or Flight, a 2016 work of neon and vinyl, Kimberly McKinnis started with a single word, silence. So in the current political climate, what's the silence about? Click here to see the opposite glass wall.

Laura McFie and Will Sprueill combined on one of the most ambitious efforts ever installed here. They turned our entry into a dungeon holding a timeless array of instruments of violence crafted from glass.

James Akers, Emily Bartelt and Gayle Forman joined together for a splashy neon work called Train City.

• From the Governor's School for the Arts, two installations of three works by two students. For Inner City Funk, Patrick Zaremski mixed photographic negatives and positives "to evoke the raw emotions of the city." Ashley Fleenor's The Winter Response was inspired by the loneliness of a rural mountain town in winter.

What She Always Wanted came from Julia and Robin Rogers, a husband-and-wife glass art team recently featured on WHRO's The Scene. Known for quirky yet sweet anthropomorphic creatures, here's a wider view of the install, here's a closeup of the face of this curious creature, and we can't leave out the origami bunnies.

• For One Road, One America, Kathy Little used kiln-formed, powdered screen-printed glass to create what she called a "highway of visual stimulation." Played out against a backdrop of a giant American flag,"Roads, automobiles, signs, and laws are undeniably American, with their bright contrasting color and concrete bases," Little said. "Viewed together in close proximity, the effect is overwhelming and chaotic—much like the political atmosphere of the present."

• A cooperative effort here, as the young artists of the Ghent Middle School Art Club worked with Studio Assistants on this mosaic. Here's a closeup, and here's a wider view.

• The People for the Ethical Treatment of Animals mounted a special photo exhibition called In Our Own Backyard. The exhibit was part of a campaign to end the practice of chaining dogs, a sadness captured in these photos by volunteers in the field. For a wider view of the exhibition, click here. The exhibition week was capped by a special, canine-themed glass art demonstration by Kristi Totoritis.

• Young artists from Truitt Intermediate School in Chesapeake crafted a variety of glassblown items in a workshop here. Here's how they did.

Liana Graham had five works on view, including Best in Show. She's an ODU and JMU graduate who teaches at the Governor's School for the Arts, and she recently opened a gallery in MacArthur Center.

Wayne Strattman literally wrote the book on neon techniques. We exhibited his work all around the Studio while he was in town teaching a special, high-end workshop.

An interesting installation by Virginia van Horn, a Norfolk native, a long-time fixture on the local arts scene, and a teacher at Old Dominion and The Governor's School. It included a work called Three Graces along with smaller sculptures such as this one.

• Manuela Mourao's Vocation was an installation consisting of a mixed media painting, table, stool, blank paper, and pen. It's part of a larger project where she is re-engaging with her book Altered Habits: Reconsidering the Nun in Fiction through visual art.

The Fall Studio Assistants Class put on a group exhibition that included Bind by Meredith Lopez. For a wider view of the collective artistry, click here.

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Bind by Meredith Lopez. Click to enlarge.

Haptic Interitance by Ali Feeney tied together two families by way of one woman. In this wide view you can see the hand-sewn map tracing both a birth and an adopted family. The installation was a tender, touching look at the incredible lure of connection.

• No picture of this installation could do James Akers justice. To appreciate the work of this scientist/hacker/artist, this video is a good place to start.

Madisyn Zabel said she wanted to explore "the visual collision of opposing forces; positive and negative, volume and flatness, light and shadow." Here's how it looked.

The Devil's Doorbell by Jade Usackas was an expression of self exploration and femininity inspired by the Jack in the Pulpit vases of Louis Comfort Tiffany. Usackas said she wanted to use decorative techniques and familiar forms "to resist traditional displays of femininity ... and counter negative notions surrounding female sexuality." For a closer view, click here.

Sarah Todd based her glass sculptures on the canopic jars of ancient Egyptians. Visitors were invited to write their regrets on the paper, slip the regrets into a jar, and then move on to a brighter future.

• A pair of works from Kimberly McKinnis, one based on cards left at the Museum's Response Station and one based on Museum data. Here's how it looked.

• In Vacancies, Kayla Ohlmer recreated a backyard scene where the emphasis was on the people missing from the scene. As to the glass laundry, Ohlmer said: "The red shirts symbolize the violence committed by the offender, while the white represents the innocence of the target." Here's a picture of the artist with her work.

• Vestibule 102 became Area 51 in Taylor Thornton's installation Abduction. He cleverly framed his blown glass flying saucers with great UFO headlines of history. For a closeup view of his glass work, click here.

• Glass Studio artists are encouraged to find inspiration in pieces from the Chrysler Collection. Undine Wiggling was Gayle Forman's take on Chauncey Bradley Ives' Undine Rising from the Fountain. Forman 3-D modeled the statue with a phone app, made a cast, then cast her piece in rubber. Her movie of a classic marble sculpture now swaying and wiggling by magic is shown here as seen through the front window. For a clearer view, click here.

• Shown here is a close-up of a three-part work by Kristi Totoritis. It's a piece of memento mori, and you can see a wider view of the entire installation here.

Tim Spurchise called his work "Dark Star," which is another term for black hole. Take a look at it here. It's a 2016 work of blown glass with copper shavings, cast aluminum, and steel. Said Spurchise: "Our place in the universe on this lonely blue planet is fragile, much like the fragility of glass."

• If there's one single word to describe the work of Van Eric Harned it would be "heartfelt," which is fitting considering this Vestibule 102 installation. You can click here for a detail. Click here for a wider view.

Avery Shaffer applied a gay-identity, social-media overlay to Christian saints in a technical tour-de-force. Saint Sebastian / EVERLAST is a 2016 work of kiln-formed and sandblasted glass, digital photo decals, urethane, copper tape, synthetic polymer, and oak mounts. Here's a detail and here's a wider view.

We had a run of non-glass artists exhibit here because it was a great way to promote our friends in the local artistic community.

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A work by Avery Shaffer. Click to enlarge.

• The Official Best Friend of the Chrysler Museum Glass Studio, Echard Wheeler, is a videographer and photographer who has played a key role in documenting our success. So it was only proper to display a wall of his photographs in our vestibule gallery, and here's one that was on view. For more on the work of this talented commercial, portrait, and wedding photographer, click here, here, here, or here.

• Our run of non-glass exhibitions continued with the brilliantly colorful work of Randy Hess. Here's a wider view of the four works he had on display.

Allison Termine, who has a day job at the Jean Outland Chrysler Library, presented works that she called Parts of Me. Here's an overview and here's a closer view.

• Here's a detail from four works exhibited by Heather Bryant, the Associate Chair for the Visual Arts at the Governor's School for the Arts.

John R.G. Roth describes Mirth Transformed From Flotsam to Jetsam as a directly autobiographical work. The boat in this detail photo was made from wood salvaged from his house. Here's a wider view.

• In Present, a collection of oil-on-wood pieces, Carson Grubaugh said he wanted to create "a more immediate relationship with the viewer" by focusing on the surfaces themselves. As he put it: "They present the present moment as the present is."

City of My Dreams by Alan Jelercic was a mixed media work that included found objects. The ODU-educated, Virginia Beach-based artist and illustrator considers "walking among the Urban Fabric my greatest source of inspiration." For an overall view, click here.

In terms of glass artists:

• For Three Madonnas, Carolyn Riley combined different glass processes, artful staging and three generations of women to produce a heartwarming tribute to family.


James Akers describes himself as a hacker-artist. In this bit of science-meets-art, he used molten glass to conduct electrical current and then used the changing resistance in the cooling glass to generate sound. This video shows the process and this picture shows him preparing the video installation for public view.

Uncartographical by Ali Feeney combined neon, blown, and etched glass. You can see closeups of the engraving here and here, and you can see how it looked at sunset here.

Letitia's Cradle was a remake of a Newton's Cradle in glass. Here's a detail look at the work by Letitia Nichols.

Hannah Kirkpatrick has spent years studying the intersection of glass artistry, methods of illumination, and optical principles. This installation was based on a camera obscura and sorry to all who didn't have a chance to peek through it while it was on view.

Will Sprueill crafted a contemporary work steeped in historical traditions.

Kayla Ohlmer called her installation Public Laundry. She said "the newly cleaned fabric represents hope for transformation and progress, while the remaining stains attest to the futility of our efforts to change the past."

• This installation by Sarah Vaughan was inspired by centuries of trail-marking cairn-builders all around the world.

• Studio Assistants are tasked with creating a work in response to items from the Chrysler Collection. To Luke Stone, our suit of samurai armor seemed too decorative in a display case. His work showed the armor in its original intent, as a defense against approaching enemies.

• Old Dominion University professor Peter Eudenbach exhibited a deceptively captivating work. Inspired by Marcel Breuer-designed windows on the old Whitney Museum building in New York, he explored the intersection of architecture and cinema with black-mirrored windows. When approached from different angles, was it designed to be dark and hiding what's inside or reflecting back what's outside?

Solomon Isekeije, a professor at Norfolk State University, displayed several works of distinction. Here's a detail from one of them

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From a work by Emilio Santini. Click to enlarge.

• Here's a picture of Emily Bartelt re-installing her work Containers of Prospect for an encore performance. She reinstalled the work to fill in for an artist laid up by a broken foot.

• Norfolk glass artist Joshua Solomon is well-known for his colorful, flowing works. For a wider view of this installation, click here or here.

Emilio Santini is a Williamsburg glass artist with an international reputation. Click here for a detail of his signature dancing monkeys.

Heather Hartle, a long-time member of the Peninsula Glass Guild, is shown here installing her works. Her installation told a heartfelt story about bees in four pieces of glass art. Here's one she called The Pollinators.

Our Summer Studio Assistants presented a group show in Vestibule 102, and we start with a detail of a work by Teri Bailey called Mending. You can click here to see how Suzanne Peterson handled her glass flower, click here for a work by Ali Feeney, and click here for Luke Stone's creation. The installation also included a cartographical work by Trevor Lewis, a beautifully patterned form by Nathan Windley, and a neon work by James Akers.

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A work by Karl Jones. Click to enlarge.

Ali Rogan is a well-known glass artist on the Peninsula. This installation, Sacred Spaces, consisted of five items made from cast glass, pate de verre, and anodized aluminum. Here's one work pictured up close.

• From Van Eric Harned, here's a work called A Piece of Me that consisted of a flameworked heart in a box that was flanked by symbolic blood and ink. The liquids were used for writing and here is a closeup of the words.

• An installation by an artist visiting from Richmond, Sarah Mazir.

Emily Bartelt was inspired by the sound of trains for her Containers of Prospect.

• For Glass as Paint, Jessie Sommer recycled old glass left behind by Studio artists, students and volunteers. Click here to see a work in detail.

• Inspired by works of fine porcelain, an atlas of cylinders by Hilary Wang traced the coastlines of five cities onto glass. She called her installation Conundrum of Coastlines.

Tim Spurchise found inspiration in multiple pieces from the Chrysler collection. He made many different objects using many different techniques, as seen here and here, and the installation was entitled By The Hands of Men.

Emma Howell entitled her exhibition Thorns. You can click here for a wider view of the installation.

• To really appreciate this glass portrait by Karl Jones and its pointillism-performed-in-cane style, take a look at this closeup of the eye.

Katie Murphy created a wonderful frame and left it up to visitors to paint the painting. Here's how it looked towards the end of the week.

Pierre Bowring, having balanced being a chef and a glass artist, visualized his artistic journey with teetering ketchup bottles.

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Installation by Kelsey Finnie. Click to enlarge.

Sarah Gilbert took wax castings of body parts and converted them into complex vessels. She called the project Turnings.

• For Kathy Little, the fun in her Tic-Tac-Toe was the joy she wished she'd had in her own childhood.

• A striking work by Karl Jones, seen here in a wide shot and seen here in detail.

Balance, by Laura McFie, explored the significance of equilibrium when it comes to extremes in emotions, ideas, values and concepts.

• In Submerge, Suzanne Peck combined cast glass and digital video. She put a cast-glass inner tube on the bottom of a swimming pool as an illustration of that which cannot be attained.


In alphabetical order

Emily Bartelt, starting from a Larry Clark photo exhibition about junkies, crafted needles and paraphernalia out of glass, recreated a scene from one of Clark's photos, and invited people to live the experience.

• For her exhibition Touch The Art, Amber Borealis explored glass and textures.

• Inspired by Jeppe Hein's geometric mirrors, Dahlia Bushwick used fractured mirrors in search of fragmented truths.

Mike Butzine illustrated a quote by Albert Einstein about the power of imagination.

• In an untitled work, Kelsey Finnie explored unorthodox forms, lines, and bends in mold-blown glass.

• With a mobile fountain containing four-leaf clovers, Gayle Forman said she wanted "to create luck in the same way museums create beauty."

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From Kathy Little's Spherical Balance

• Inspired by the work of Bertil Vallien, Van Eric Harned's installation combined wood and copper inclusions with sandcast and flameworked glass.

• From Hilary Heckerd, an intriguing collection here and a work called Anamnesis here.

• In this work by Eric Hernandez, look at just one before looking at them all.

• A Kathy Little stained glass work entitled Spherical Balance.

• The letters on the table by Laura McFie spell out "winded."

• In Cover-Up, John Shield created jewelry to cover tattoos, and the covers became their own kind of adornment.

• In Celestial City, Jessie Sommer used glass art to explore man's relationship to solar, lunar, and planetary bodies.

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Jessie Sommer's Celestial City

• A mirrored work by Kristi Totoritis.

Studio Assistants for the summer term did a group show, and our photo files include closeups of work by Emily Warden and Mel Long.


In alphabetical order

• We start with an overview of this work by Brianna Barron before proceeding to a close-up of what's going on inside.

• A mix of inspiration and innovation from Joan Biddle: Just go ahead and click here and here.

• There's a dream-like quality to this piece by Colleen Castle.

• From Eli Cecil, the beautiful simplicity and grace of a couple of curved forms.

• Just when you think you've seen a lot of major decorative changes in this space, here comes John Forsythe.

Tyler Gordon added a new twist to classic goblets, then, when assembling the presentation, included an often-overlooked, but very important, glass-making tool.

Eric Hernandez created a habitat for his glass animals.

Hannah Kirkpatrick's glass-art take on a toolbox.

• In this picture, a colorful piece and the artist who made it, Katie Kust.

Kathy Little's cast-glass organic installation included dibbles. She called it The Little Farm

• Sometimes color is most effective when used sparingly. Presenting Untitled by Melanie Maglieri.

• Mirrors, mythical beasts, vessels, forms: It's all from Laura McFie. A second Vestibule 102 installation by her was entitled They Say...

• With such a feast of forms, Colin McKinnon just had to set a table.

• For Mike O'Toole, glass art is on the job—from the framing to tools such as hammers and screwdrivers. The glass nails were a particularly deft touch.

• A flameworked network of glass rods takes flight thanks to Jamie Parkerson.

Charlotte Potter kept the form but ingeniously lost the function.

Molly Roderick, inspired by a 17th century work in our collection, took the centuries-old symbol of hospitality, the pineapple, and gave it a modern twist.

• From Robin and Julia Rogers an expanding head and a person with sliding drawers.

Liesl Schubel explored negative space in a piece inspired by Randolph Rogers' Daughter Nora as the Infant Psyche. A second installation of hers was classically influenced and brilliantly executed.

• Here's a night-time view of a colorful installation by Ben Smith, and here's a view of a later installation organically inspired.

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Detail from a Josh Solomon work.

• Three installations by Josh Solomon ranged from figures to pennies to what many considered a showstopper.

Heather Sutherland's glass headphones.

• From Ryan Tanner, what was made (and how), then what was made (and the inspiration), and finally, a comic book page done in glass.

• Did someone mention color? Check this out. It's from Kristi Totoritis.

• Sand, driftwood, netting—a castaway kind of vision from David Wheeler.


In alphabetical order

Nate Avery saw Vulcan's Legacy as a tribute to the craftsman. A later installation turned a Salvador Dali self-portrait from our collection into a glass panel.

Brandy Arab's whimsical take on classic forms is shown here.

Jason Bauer crafted a collection of curious items for his installation.

Joshua DeWall's flameworked puppet master and marionette.

Jerry Flanary took a fresh new look at Cherokee double-wall baskets.

• As illustrated by Hayley Hodge, not everything in Vestibule 102 has to be glass.

Annie Jacobsen's glass-art was to be worn.

Colin McKinnon, inspired by Bowl of Apples on a Table by Henri Matisse, put together a still life of ambiguous fruit.

• Makes you look closer. That's the story with this work by Laura McFie.

Dawn Passineau is shown with her work, which was inspired by ball and socket joints in the human body.

Ben Smith was anatomically inspired.

• From Mike Tracy, an intriguing series.

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Detail from a work by Van Eric Harned.