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Davide Penso’s Conversation with Glass
From the island of Murano, Italy, Davide Penso attempts to capture the look of water in motion through his anemone beads and more recently his flowing and elegant Seaweed sculptures. Surrounded by breathtaking lagoons inspiration surrounds him, and conversations with glass seem as infinite as the surrounding bayou. “Glass follows its own time. Sometimes we fight a little bit. I have the sense of color and design, and the glass uses me to be more beautiful.”
Born in 1965 in Venice, Penso grew up and established his studio onMurano, renowned for its long tradition of glassmaking. Beginning his career as a still life photographer, the artist turned to glass in 1992 and opened his atelier known for glass jewelry reflecting a contemporary and innovative style.
The success of Penso’s work is reflected in numerous international group and solo exhibitions at prestigious venues such as Saint Mark’s Civic Museums Correr, Fortuny, and the Guggenheim, in Venice, Italy; the Corning Museum of Glass (CMOG), Corning, New York; St .Petersburg Glass Museum, St. Petersburg, Florida; and the Glass Art Museum of Okabe, Japan. The artist has collaborated on jewelry projects with illustrious names such as Venini, Giorgio Vigna, Nason & Moretti, and Pelikan, and made a name for himself in high fashion designing collections for major brands.
In 2001, Penso began teaching lampworking and jewelry design, collaborating with Abate Zanetti School of Glass in Murano. An invitation in 2007 to lecture at Boston University School of Visual Art led to subsequent teaching stints at CMOG; the Glass Furnace in Istanbul, Turkey; and Nuutajärvi Glass Village, Nuutajärvi, Finland. Special guest appearances include the 2017 Gathering, sponsored by the International Society of Glass Beadmakers (ISGB), and the upcoming 2019 Festival of Glass, Drysdale Australia. His 2018 teaching schedule includes Master the Art of Blown Glass Beads at Blue Moon Glassworks, Austin, Texas, October 4 – 5 and at Patty Lakinsmith, San Jose, California, October 13 – 14.
Although bead making and jewelry continue as mainstays of Penso’s creative production, his current Seaweed sculptures challenge the artist to work larger on the torch. A recent outdoor sculpture measured over 3 meters and included more than 70 blown pieces. Visitors from around the world stop to take photos and marvel at the work, inspiring Penso to move in a more sculptural direction with his ideas.
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CMOG in 2 Minutes (Corning Museum of Glass)
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Guest Artist Demonstrations
Studio Instructors
Techniques of Renaissance Venetian Glassworking
You Design It; We Make It!
2016 Summit on E-Commerce in Museums
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3 Days of Goblets
Skill level: Intermediate, at least 2 years of experience required. Sunday through Tuesday, August 20th-22nd from 9:00am-5:00pm.
Click here to register for this workshop today!
Boyd Sugiki was first introduced to glass at Punahou High School in Honolulu, HI. He went on to study at California College of Arts and Crafts and the Rhode Island School of Design. Boyd, along with his wife Lisa Zerkowitz collaborate on a line of work under the name Two Tone Studios. They maintain a studio in Seattle, and enjoy lecturing and demonstrating throughout the US and abroad. They continue to teach workshops at schools such as The Studio at CMoG, Pittsburgh Glass Center and Penland School of Crafts.
#glassrootsinc#boyd sugiki#goblets#glassblowing#intermediate glassblowing#three day workshop#intensive#glassblowing class#class#workshop#newark nj#new jersey#glass studio#california college of arts and crafts#rhode island school of design#lisa zerkowitz#art couple#glass couple#glassblowing duo#husband and wife#two tone studios#seattle#seattle washington#west coast#east coast#cmog#corning museum of glass#pittsburgh glass center#penland school of crafts#honolulu
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Sitting here in our library room on December 31st, I am contemplating the year that was. 2018 has probably been one of my most productive years to date, but also dismal in many ways.
Let me attempt to compile a list of triumphs…
Studio
Most of the older corporate clients have gone dormant. Since 2008 the orders for trophies and corporate gifts (which have always been a solid income to supplement other ventures) have dried up. Large corporates, for whom I did work, have cut expenditure, probably due the economic climate and some due to corporate buyouts and restructuring.
Without bread and butter jobs such as these immense pressure – survival pressure – ensues. To counter the lack of commissioned jobs I stayed busy in the studio.
What did I do?
My company website, obsidianglass.co.za, has become dormant. Over the past five years or so I have concentrated on rebranding my business as Lothar Böttcher. Obsidian Glass is the company through which I conduct transactions etc. but Lothar Böttcher is the brand I have been developing. To some success…
Who are my clients?
Smelt Glass Studio has been a great support. Run by Martli Jansen van Rensburg and Mike Hyam, this hot glass studio has established itself as a shining light within South Africa’s glass community.
Both Martli and Mike have developed their own brands of glass and nurture young artists emerging from the TUT Glass Department. This relationship is set to grow due to substantial changes within the TUT structures and renewed involvement by the SA glass community at large.
The future looks brighter!
Then there are repairs – crystal glasses, sculpture, Swarovski works, etc. These jobs are not constant but keep the tinder dry.
The largest segment are galleries. Studio production and sculptural work was prolific this year. Venturing along several avenues in my art-making has kept me sane and productive. I guess I was forced, in a way, to reinvent myself, to find that inner voice of creativity and make, make, make.
Looking back, I must confess that this year has been one of growth. My work has evolved from concepts and loose configurations into confident strong narratives.
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Technique has become incidental. Do you think of walking? Each step; each cut has become part of discovering that which lays hidden inside – inside the glass and inside myself.
A big contributing factor to my growth has been the calibre of galleries in which my work is presented. The year kicked off with a show – Contemporary Abstract – at Gallery 2 which was curated by Derek Zietsman.
Shortly thereafter I was called by Circa on Jellicoe to participate in the group show In The Forests of the Night.
Then there was the glass exhibition which I curated at the Association of Arts, Pretoria. No grand sales at this show though… but we made inroads promoting glass, especially for our dedicated community here in Pretoria.
The best news was from Corning. I was notified that my piece, Pocketlens, was selected to be part of the exhibition New Glass Now which will open in May at the Corning Museum of Glass. This, I must admit, is the cherry on top for the years unrelenting efforts.
The clock has struck twelve with a new dawn emerging over the horizon. It’s only the first week and I am running like crazy, all over the show, getting bits and pieces into place for that which is coming, all that super great awesomeness of life, love and work!
Wishing everyone a Super 2019, filled with joy, health and productivity!!
2018 - The Year That Was Looking back, I must confess that this year has been one of growth. My work has evolved from concepts and loose configurations into confident strong narratives. Sitting here in our library room on December 31st, I am contemplating the year that was. 2018 has probably been one of my most productive years to date, but also dismal in many ways.
#2018#2019#africa#art#circa#cmog#contemporary#corning museum of glass#exhibition#galleries#gallery 2#glass#sculpture#south#southafricanglass#studio#technique#work
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What a fun doing a little collab with @cedricginart @karinaguevin and myself at Corning studio @corningmuseum. This goblet will stay at Corning to display at studio or sell for fundraising for scholarship. #glassfrog #cedricginart #karinaguevin #eunsuhchoi #choiglass #glassgoblet #cmog (at Corning Museum of Glass)
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Jen Violette
In a world of technological excess and social turmoil, one longs to return to the simple goodness of the earth and its bounty. Like a trip to the local farmer’s market, Jen Violette’s cornucopia of glass fruits and vegetables renews in the viewer a connection with the ground we walk upon and the faith that we remain part of a plan that makes life on earth sustainable.
A full-time glass and mixed media artist based in Wilmington, Vermont, Violette is known for her colorful, garden inspired glass sculptures that often incorporate metal and wood. Recreating plant structures with molten glass, the artist has mastered the use of glass powders to mimic the colors and textures found in nature. “Since the growing season is relatively short in Vermont, I enjoy gardening with molten glass to extend my growing season.”
A 27-year hot glass veteran, Violette received her BFA in Glass and Metal Sculpture from Alfred University School of Art & Design, Alfred, New York in 1994. She continued her glass art education through courses at The Studio of The Corning Museum of Glass (CMOG), Corning, New York; the Pilchuck Glass School, Stanwood, Washington; the Rhode Island School of Design, Providence, Rhode Island; the Haystack Mountain School of Crafts, Deer Isle, Maine; and Penland School of Crafts, Bakersville, North Carolina. Her mentors and inspirations include hot glass royalty such as Lino Tagliapietra, William Morris, Martin Janecky, Dante Marioni, Richard Marquis, the late Pino Signoretto, Randy Walker, Karen Willenbrink-Johnsen, Jasen Johnsen, Stephen Dee Edwards, Fred Tschida, Walter Lieberman, and Brian Pike.
Violette’s work can be found in private collections worldwide and is represented by a number of fine art glass galleries including Schantz Galleries Contemporary Art in Stockbridge, Massachusetts; Vetri Gallery in Seattle, Washington; Raven Gallery in Aspen, Colorado; Sandra Ainsley Gallery in Toronto, Canada; and Montague Gallery in San Francisco, California. Her work can also be found at Duncan McClellan Gallery in St. Petersburg, Florida, where from October 12–14, 2018, the artist will be featured along with glass artist Claire Kelly in a weekend event including glass demos by both artists.
Currently fabricating larger scale installations and glass sculpturesdirectly mounted to the wall, Violette’s aesthetic now includes forest floor imagery with fall leaves and branches. She moves in and out of the seasons, simultaneously creating a spring inspired installation containing fiddlehead ferns and glass trilliums, as well as an homage to summer with black-eyed Susans and sunflowers, and a wall piece featuring large-scale ferns installed at different angles.
Upon her return from the Glass Art Society conference in Murano, Italy, in May2018, Violette will participate in a Vermont Crafts Council Studio Tour held during Memorial Day weekend. During August 6–11 the artist will teach her first class ever, a Creative Glass Sculpting Techniques workshop, at the CMOG Studio.
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