Now on view is a group exhibition featuring the work of our Spring 2017 Glass Studio Assistants, and it includes artists from all across the world. Shown above is a detail from Samuel Spees' work Luce del Sole, and here's a wider view.
Also on view is Chow Down by Colin McKinnon, which includes 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.
You'll also find 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 has a surprise on the back. Here's how the exhibition looks all together, and we encourage you to give each piece a really close look. It's quite a talented group.
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. The artist featured in Vestibule 102 performs the daily demo on the Sunday of the exhibition week.
• 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.
• 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.
• 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.
• 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."
• 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.
• 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.
• 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.
• 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.
• 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.
• 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.
• 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.
• 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.
• 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
• 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.
• 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.
• 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.
• 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.
• Pierre Bowring, having balanced being a chef and a glass artist, visualized his artistic journey with teetering ketchup bottles.
• 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.
• 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."
• Inspired by the work of Bertil Vallien, Van Eric Harned's installation combined wood and copper inclusions with sandcast and flameworked glass.
• 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.
• A mirrored work by Kristi Totoritis.
In alphabetical order
• 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.
• 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.
• With such a feast of forms, Colin McKinnon just had to set a table.
• A flameworked network of glass rods takes flight thanks to Jamie Parkerson.
• Charlotte Potter kept the form but ingeniously lost the function.
• 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.
• Heather Sutherland's glass headphones.
• 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
• 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.