l’Association des Arts du Verre du Canada

Les Aurores Boréales

Exposition des diplômés verriers canadiens

Bienvenue à la première exposition de la GAAC des diplômés verriers canadiens, un événement annuel qui illustre le travail de nos principales institutions verrières à travers le Canada, membres inestimables de notre communauté canadienne du verre.

Nous avons invité les étudiants de Fleming Haliburton School of Art + Design, Haliburton, Ontario, de Sheridan College, Oakville, Ontario, d’Espace Verre, Montréal, Québec et de AuArts, Calgary, Alberta.

Les diplômés partagent des images de leur tout nouveau portfolio d’artistes. Naturellement, le travail des étudiants est aussi diversifié que les étudiants eux-mêmes. Profitez de leur vision du traitement du verre exprimée entre autres par des accessoires sculpturaux, des bijoux, des explorations conceptuelles et techniques et des travaux expérimentaux toujours inspirants en verre soufflé, coulé, fusionné, travaillé à la flamme ou travaillé à froid.

Veuillez vous joindre à nous, le conseil d’administration de la GAAC, pour honorer les diplômés verriers de la promotion 2024! En guise de cadeau de fin d’études, la GAAC offre fièrement aux étudiants une adhésion d’un an en tant que membre de la GAAC. Ceci est rendu possible en partie grâce au soutien de nos membres.

Liste des participants – Vous trouverez dans leurs profils plus de détails au sujet des diplômés et l’information pour communiquer avec eux.

Veuillez noter qu'il s'agit d'une exposition en ligne organisée par le GAAC. Si vous avez des questions ou des demandes de renseignements sur une pièce spécifique, veuillez contacter l'artiste directement, vous pouvez également consulter son profil d'artiste GAAC pour voir plus de son travail et ses coordonnées.

Chromadyne

Année:
2021
Dimensions:
30” x 18” x 3”
Matériaux:
100% Silvered Mirror, 70% Silvered Mirror, EL Wire, Wood
Description:
Chromadyne is an installation piece that pushes the viewers examine their notions of reality, reconstructing perception and possibilities of physical space through careful manipulation of optical planes. The exterior expression of the piece exerts a tangible presence in the room, a glowing spectrum which offers an impression of the expected dimensionality of the space, while the vibrant colours invite the viewer to joyfully consider the location as an extension of the work. The black frame draws the eye to the central portal, which shows a dizzying interior window of neon light stretching into an inconceivable distance, incongruous with internalized preconceptions of existence.

Artiste

Stephanie Arnot Stephanie Arnot

Stephanie Arnot is an emerging Canadian glass and ceramic artist originally from the west coast of Canada. She enjoys merging colour, glass and light into fantastic objects.

Mark of the Maker

Année:
2022
Dimensions:
20" x 20" x 9"
Matériaux:
Cast Glass
Description:
Mark of the Maker is part of an ongoing interrogation of craft theory and the instilled value of the visible makers hand. The artist had a set of dental plaster molds made of their own mouth and used this to make real teeth impressions in oversized cast gummy bears as well as crystal teeth, presented in a pile like candy.

Artiste

Stephanie Arnot Stephanie Arnot

Stephanie Arnot is an emerging Canadian glass and ceramic artist originally from the west coast of Canada. She enjoys merging colour, glass and light into fantastic objects.

Ubiquitous Abundance

Année:
2024
Dimensions:
50" x 50" x 6"
Matériaux:
Uranium Glass, Pink Glitter, UV Light, Wood
Description:
Ubiquitous Abundance is a play on the forms of prevalent excess, transforming some of the symbols of this into an overt event. Full-sized cast uranium glass bananas are tessellated pattern onto a pink glittered wall and illuminated with ultraviolet light. The translucent qualities of glass allow them to both lift away and recede into the wall as the light of the space interacts with their materiality, giving the viewer both the sense of looking at the wallpaper as a static object, an allusion to the wallpaper pattern work of William Morris and the Arts and Crafts movements idea of designing and decorating space, and at the three dimensional cast glass as a transmissive, interactive object.

Artiste

Stephanie Arnot Stephanie Arnot

Stephanie Arnot is an emerging Canadian glass and ceramic artist originally from the west coast of Canada. She enjoys merging colour, glass and light into fantastic objects.

Weeds Underfoot – Sand Spurrey

Année:
2024
Dimensions:
24.5 cm h x 17.5 cm w x 12 cm d
Matériaux:
Blown glass, enamel
Description:
Vase with hand-drawn tangled sand spurrey stems. I found this small flower growing beside the sidewalk at Sheridan College, thriving in the high salt, high traffic conditions we create in our urban landscapes. A stubborn little immigrant from Eurasia, it holds on and puts forth its tiny pink flowers in places where most plants simply die.

Artiste

Sara Carlisle Sara Carlisle

Sara Carlisle takes joy in the small pleasures in life. The play of colour and light in the world we live in. The warmth and mischief of a pet cat. The subtle beauty and resilience of wild flowers and weeds. She captures her love of these things in her glass art. Her work draws on her own personal experience as a visual artist – she discovered watercolour painting in the early 2000’s, and very much enjoyed it, but then fell in love with glass, and began the journey that led to her becoming a glass blower in recent years. She is currently exploring two lines of work on blown glass forms: investigating movement and colour interactions in glass using frits and shards, and revisiting her botanical paintings in enamels and coldworking. Sara is currently studying glass blowing at Sheridan College, in Oakville ON, Canada. She hopes her work brings as much joy to the viewer as it does herself.

Can't see the Trees for the Forest - Winter Birch

Année:
2024
Dimensions:
25 cm h x 16.5 cm w x 12 cm d
Matériaux:
Blown glass, enamel
Description:
Vase, with hand-drawn enamel birch tree silhouettes. The paper birch is an iconic Canadian tree, long valued for its water-proof paper-like bark and its sweet sap in the springtime. It is one of the first trees to move into disturbed areas, setting the stage for a slow succession from wasteland to mature forest. Even in winter, it is easily recognized…a first step in starting to see the trees, not just the forest.

Artiste

Sara Carlisle Sara Carlisle

Sara Carlisle takes joy in the small pleasures in life. The play of colour and light in the world we live in. The warmth and mischief of a pet cat. The subtle beauty and resilience of wild flowers and weeds. She captures her love of these things in her glass art. Her work draws on her own personal experience as a visual artist – she discovered watercolour painting in the early 2000’s, and very much enjoyed it, but then fell in love with glass, and began the journey that led to her becoming a glass blower in recent years. She is currently exploring two lines of work on blown glass forms: investigating movement and colour interactions in glass using frits and shards, and revisiting her botanical paintings in enamels and coldworking. Sara is currently studying glass blowing at Sheridan College, in Oakville ON, Canada. She hopes her work brings as much joy to the viewer as it does herself.

Sedge

Année:
2024
Dimensions:
15.5 cm h x 11.5 cm w x 9 cm d
Matériaux:
Blown glass, enamel
Description:
Vase, with hand-drawn sedge. In the urban landscape, grasses provide an outdoor “floor covering” surrounding our homes and gardens. With an increased interest in sustainable practices, grasses and their close relatives, sedges and reeds, are starting to be valued in their own right as decorative plants. It is here and in disturbed or wet areas that they have a chance to grow freely, and we can see their grace as they move with the wind.

Artiste

Sara Carlisle Sara Carlisle

Sara Carlisle takes joy in the small pleasures in life. The play of colour and light in the world we live in. The warmth and mischief of a pet cat. The subtle beauty and resilience of wild flowers and weeds. She captures her love of these things in her glass art. Her work draws on her own personal experience as a visual artist – she discovered watercolour painting in the early 2000’s, and very much enjoyed it, but then fell in love with glass, and began the journey that led to her becoming a glass blower in recent years. She is currently exploring two lines of work on blown glass forms: investigating movement and colour interactions in glass using frits and shards, and revisiting her botanical paintings in enamels and coldworking. Sara is currently studying glass blowing at Sheridan College, in Oakville ON, Canada. She hopes her work brings as much joy to the viewer as it does herself.

Shadows

Année:
2024
Dimensions:
H: 2.5m, W: 2m
Matériaux:
Glass
Description:
The project is an attempt to combine Chinese traditional shadow plays with children’s storybooks, which is using the shadows generated by light puts on glass to present a story. The inspiration of this project comes from my own experiences in recent years, it is about reflecting on life and contemplating the connections between people and the world at this stage of my life.

Artiste

Ziyun Chen Ziyun Chen

Celty Chen is a student from China who graduated from Sheridan College with a major in the Bachelor of Glass Craft and Design in 2024. Her creative inspiration comes from her recent experiences, which reflecting on life and contemplating my connection with the world. The motivation for the theme comes from her observation of a prevalent sense of nihilism among many young people today. There is a significant number of them who believe that life lacks intrinsic meaning because death is inevitable, and it can strip away all significance of life. This perspective on life also comes from her experiences, which sparking a desire to explore and understand the roots of this existential attitude.

No.7 of Shadows

Année:
2024
Dimensions:
25cm x 25cm
Matériaux:
Glass
Description:
The project is an attempt to combine Chinese traditional shadow plays with children’s storybooks, which is using the shadows generated by light puts on glass to present a story. The inspiration of this project comes from my own experiences in recent years, it is about reflecting on life and contemplating the connections between people and the world at this stage of my life.

Artiste

Ziyun Chen Ziyun Chen

Celty Chen is a student from China who graduated from Sheridan College with a major in the Bachelor of Glass Craft and Design in 2024. Her creative inspiration comes from her recent experiences, which reflecting on life and contemplating my connection with the world. The motivation for the theme comes from her observation of a prevalent sense of nihilism among many young people today. There is a significant number of them who believe that life lacks intrinsic meaning because death is inevitable, and it can strip away all significance of life. This perspective on life also comes from her experiences, which sparking a desire to explore and understand the roots of this existential attitude.

No.10 Shadows

Année:
2024
Dimensions:
25cm x 25cm
Matériaux:
Glass
Description:
The project is an attempt to combine Chinese traditional shadow plays with children’s storybooks, which is using the shadows generated by light puts on glass to present a story. The inspiration of this project comes from my own experiences in recent years, it is about reflecting on life and contemplating the connections between people and the world at this stage of my life.

Artiste

Ziyun Chen Ziyun Chen

Celty Chen is a student from China who graduated from Sheridan College with a major in the Bachelor of Glass Craft and Design in 2024. Her creative inspiration comes from her recent experiences, which reflecting on life and contemplating my connection with the world. The motivation for the theme comes from her observation of a prevalent sense of nihilism among many young people today. There is a significant number of them who believe that life lacks intrinsic meaning because death is inevitable, and it can strip away all significance of life. This perspective on life also comes from her experiences, which sparking a desire to explore and understand the roots of this existential attitude.

Watermelon A Sex Ed Accent Table

Année:
2024
Dimensions:
27" X 20" X 20"
Matériaux:
Glass
Description:
A daring blend of functionality and artistry that pushes boundaries in interior design. This unique piece seamlessly combines the elegance of a glass table with the provocative allure of a butt plug, creating a conversation starter that is sure to captivate and intrigue. At first glance, the table appears to be a stylish and minimalist addition to your living room or bedroom. However, upon closer inspection, its playful and unconventional design becomes apparent, adding a touch of whimsy and cheekiness to your decor. The juxtaposition of the elegant glass construction with the provocative shape creates a striking visual contrast, challenging traditional notions of furniture design and inviting viewers to question and explore their perceptions of art and functionality.

Artiste

Alexander Defauw Alexander Defauw

Alex‘s artistic mission is to shine a light on the ongoing battle against HIV/AIDS, addressing the stigma and discrimination faced by those who are HIV-positive. As someone living with HIV, he celebrates the remarkable progress in treatment since the 1980s, emphasizing the increased life expectancy for individuals like himself, who represent the third generation impacted by this disease. His work not only pays tribute to those lost to AIDS but also showcases the advancements that have greatly improved the lives of those living with HIV/AIDS. Operating under the pseudonym „The Bearded Blower,“ Alex separates his personal identity from his art. The playful name, a witty nod to his craft as a Glass Blower, reflects his thoughtful approach to designing pieces that seamlessly integrate into their intended environments.

Lemon Lime Plug Lamp

Année:
2024
Dimensions:
10" X 6" X 6"
Matériaux:
Glass and lighting components
Description:
A striking lighting fixture that embraces the concept of celebrating one's true self. Its bold design and subtle curves pay homage to the beauty of diversity and acceptance. The soft, ambient glow it emits creates an inviting atmosphere, perfect for moments of relaxation and contemplation.

Artiste

Alexander Defauw Alexander Defauw

Alex‘s artistic mission is to shine a light on the ongoing battle against HIV/AIDS, addressing the stigma and discrimination faced by those who are HIV-positive. As someone living with HIV, he celebrates the remarkable progress in treatment since the 1980s, emphasizing the increased life expectancy for individuals like himself, who represent the third generation impacted by this disease. His work not only pays tribute to those lost to AIDS but also showcases the advancements that have greatly improved the lives of those living with HIV/AIDS. Operating under the pseudonym „The Bearded Blower,“ Alex separates his personal identity from his art. The playful name, a witty nod to his craft as a Glass Blower, reflects his thoughtful approach to designing pieces that seamlessly integrate into their intended environments.

Green Apple A Sex Ed Accent Table

Année:
2024
Dimensions:
27" X 20" X 20"
Matériaux:
Glass
Description:
A daring blend of functionality and artistry that pushes boundaries in interior design. This unique piece seamlessly combines the elegance of a glass table with the provocative allure of a butt plug, creating a conversation starter that is sure to captivate and intrigue. At first glance, the table appears to be a stylish and minimalist addition to your living room or bedroom. However, upon closer inspection, its playful and unconventional design becomes apparent, adding a touch of whimsy and cheekiness to your decor. The juxtaposition of the elegant glass construction with the provocative shape creates a striking visual contrast, challenging traditional notions of furniture design and inviting viewers to question and explore their perceptions of art and functionality.

Artiste

Alexander Defauw Alexander Defauw

Alex‘s artistic mission is to shine a light on the ongoing battle against HIV/AIDS, addressing the stigma and discrimination faced by those who are HIV-positive. As someone living with HIV, he celebrates the remarkable progress in treatment since the 1980s, emphasizing the increased life expectancy for individuals like himself, who represent the third generation impacted by this disease. His work not only pays tribute to those lost to AIDS but also showcases the advancements that have greatly improved the lives of those living with HIV/AIDS. Operating under the pseudonym „The Bearded Blower,“ Alex separates his personal identity from his art. The playful name, a witty nod to his craft as a Glass Blower, reflects his thoughtful approach to designing pieces that seamlessly integrate into their intended environments.

Clearly Red

Année:
2022
Dimensions:
9 cm x 38 cm x 15 cm
Matériaux:
Pâte de verre
Description:
This piece has a classic, elongated oval shape. The surface is a blend of muted gray-green tones with subtle speckles of red, which add texture and depth to the piece. A rich, dark red rim frames the vessel, creating a striking contrast against the softer interior. The vessel rests on a translucent, brutalist base, giving it an ethereal, floating appearance.

Artiste

martin nawrocki martin nawrocki

MuriniTV

Année:
2022
Dimensions:
20 cm x 10 cm x 10 cm
Matériaux:
Blown glass
Description:
This glass vase is a thick walled, cylindrical form with a dark, reflective surface that draws you in. The surface is decorated with raised, rounded squares of murine. Clear at center, each square is outlined in soft hues of blue, green, and red. These elements add a subtle texture and create a dynamic interaction with light, giving the piece a sense of movement as you view it from different angles. The playful design feels modern yet has a retro vibe.

Artiste

martin nawrocki martin nawrocki

Isle de lumières

Année:
2024
Dimensions:
17 cm x 25 cm x 15 cm
Matériaux:
Blown glass
Description:
My piece, "Isle of Light," consists of two shapes of transparent, blown glass joined together. It is meant to capture a bit of light and reflect joy. The lines of the folds shine brightly and the eye remains captivated by following these lines and curves.

Artiste

martin nawrocki martin nawrocki

MIR01

Année:
2024
Dimensions:
26cm x26cm x 10cm
Matériaux:
Glass, silvering
Description:
MIR is a series of blown glass mirrors exploring variations and transformations of domed disc shapes. Each piece in the series features a uniquely deformed disc shape, resulting from intentional interventions. The aim is to capture the diversity of forms and perspectives through a creative and experimental approach. The interventions on each piece are designed to give each one a distinct visual identity, showcasing the infinite possibilities of shape manipulation. Subsequently, silvering is applied to each piece, creating a mirrored effect that amplifies the distortions and subtle details of each shape. This series is inspired by the desire to create unique and aesthetically pleasing reflective objects, intended to enrich interior spaces by adding a dimension of light and movement. By exploring the reflective properties of silvered surfaces, MIR seeks to evoke contemplation of its environment while offering an immersive visual experience.

Artiste

Anton Pettigrew Anton Pettigrew

Anton is a Montreal-based artist whose artistic journey began with a Bachelor's degree in Communication: Interactive Media at UQAM in 2008. After exploring the realm of digital art, he was drawn to the tactile and tangible experience of materials, which led him to turn to ceramics. Continuing his studies and conducting research in his own studio in Montreal, he focused on surface treatment, particularly delving into glaze exploration. This exploration ultimately led him to discover a new passion for glass. In 2024, Anton completed his studies in glass at Espace Verre, also in Montreal. His work, which is both technical, conceptual, and functional, explores the boundaries between art, crafts, and design, while integrating a performative approach in some of his pieces. Anton is also the founder of Terrorcotta Studio, a space dedicated to the design and fabrication of functional art objects, which fosters interdisciplinarity, collaboration, and innovation.

MIR02-03-04-05

Année:
2024
Dimensions:
26cm x 26cm x 10cm / 28cm x 28cm x 10cm / 30cm x 30cm x 10cm
Matériaux:
Glass, silvering
Description:
MIR is a series of blown glass mirrors exploring variations and transformations of domed disc shapes. Each piece in the series features a uniquely deformed disc shape, resulting from intentional interventions. The aim is to capture the diversity of forms and perspectives through a creative and experimental approach. The interventions on each piece are designed to give each one a distinct visual identity, showcasing the infinite possibilities of shape manipulation. Subsequently, silvering is applied to each piece, creating a mirrored effect that amplifies the distortions and subtle details of each shape. This series is inspired by the desire to create unique and aesthetically pleasing reflective objects, intended to enrich interior spaces by adding a dimension of light and movement. By exploring the reflective properties of silvered surfaces, MIR seeks to evoke contemplation of its environment while offering an immersive visual experience.

Artiste

Anton Pettigrew Anton Pettigrew

Anton is a Montreal-based artist whose artistic journey began with a Bachelor's degree in Communication: Interactive Media at UQAM in 2008. After exploring the realm of digital art, he was drawn to the tactile and tangible experience of materials, which led him to turn to ceramics. Continuing his studies and conducting research in his own studio in Montreal, he focused on surface treatment, particularly delving into glaze exploration. This exploration ultimately led him to discover a new passion for glass. In 2024, Anton completed his studies in glass at Espace Verre, also in Montreal. His work, which is both technical, conceptual, and functional, explores the boundaries between art, crafts, and design, while integrating a performative approach in some of his pieces. Anton is also the founder of Terrorcotta Studio, a space dedicated to the design and fabrication of functional art objects, which fosters interdisciplinarity, collaboration, and innovation.

MIR06

Année:
2024
Dimensions:
30cm x 30cm x 10cm
Matériaux:
Glass, silvering
Description:
MIR is a series of blown glass mirrors exploring variations and transformations of domed disc shapes. Each piece in the series features a uniquely deformed disc shape, resulting from intentional interventions. The aim is to capture the diversity of forms and perspectives through a creative and experimental approach. The interventions on each piece are designed to give each one a distinct visual identity, showcasing the infinite possibilities of shape manipulation. Subsequently, silvering is applied to each piece, creating a mirrored effect that amplifies the distortions and subtle details of each shape. This series is inspired by the desire to create unique and aesthetically pleasing reflective objects, intended to enrich interior spaces by adding a dimension of light and movement. By exploring the reflective properties of silvered surfaces, MIR seeks to evoke contemplation of its environment while offering an immersive visual experience.

Artiste

Anton Pettigrew Anton Pettigrew

Anton is a Montreal-based artist whose artistic journey began with a Bachelor's degree in Communication: Interactive Media at UQAM in 2008. After exploring the realm of digital art, he was drawn to the tactile and tangible experience of materials, which led him to turn to ceramics. Continuing his studies and conducting research in his own studio in Montreal, he focused on surface treatment, particularly delving into glaze exploration. This exploration ultimately led him to discover a new passion for glass. In 2024, Anton completed his studies in glass at Espace Verre, also in Montreal. His work, which is both technical, conceptual, and functional, explores the boundaries between art, crafts, and design, while integrating a performative approach in some of his pieces. Anton is also the founder of Terrorcotta Studio, a space dedicated to the design and fabrication of functional art objects, which fosters interdisciplinarity, collaboration, and innovation.

Stair

Année:
2024
Dimensions:
8x8x8 cm
Matériaux:
crystal
Description:
Ruikai‘s work aims to capture unique, peace moments. It is an interpretation of “Chan(zen)" in traditional Chinese culture. It's a tangible demonstration of the beauty of feeling. It seeks to resonate with others who have felt the same and evoke a reconnection with the innate but gradually fading mystical talents we are born with as we grow.

Artiste

Ruikai Qin Ruikai Qin

Stair

Année:
2024
Dimensions:
8x8x8 cm
Matériaux:
bullseye
Description:
Ruikai‘s work aims to capture unique, peace moments. It is an interpretation of “Chan(zen)" in traditional Chinese culture. It's a tangible demonstration of the beauty of feeling. It seeks to resonate with others who have felt the same and evoke a reconnection with the innate but gradually fading mystical talents we are born with as we grow.

Artiste

Ruikai Qin Ruikai Qin

Mountain

Année:
2024
Dimensions:
8x8x7.5 cm
Matériaux:
bullseye
Description:
Ruikai‘s work aims to capture unique, peace moments. It is an interpretation of “Chan(zen)" in traditional Chinese culture. It's a tangible demonstration of the beauty of feeling. It seeks to resonate with others who have felt the same and evoke a reconnection with the innate but gradually fading mystical talents we are born with as we grow.

Artiste

Ruikai Qin Ruikai Qin

Katharsis

Année:
2023
Dimensions:
36 x 36 cm
Matériaux:
Glass
Description:
Inspired by the ancient art of origami, I transform delicate paper forms into intricate glass sculptures using the pâte de verre technique. Each piece starts as a folded piece of paper, symbolizing the external pressures young women face while seeking identity, especially in the absence of a nurturing female role model. The fragile paper, like these young women, is shaped solely by the artist's hand, reflecting how external forces mold us. Glass, with its warm allure and sharp edges, mirrors the complexities of maternal love—inviting yet perilous if approached too closely. This duality is central to my work, symbolizing the delicate balance between affection and emotional pain. The folds in my pieces represent transformation under pressure, capturing the fragility, shame, and brokenness many feel when growing up without sufficient maternal support. Through glass, I give form to the internalized struggles of self-esteem and identity, offering a tangible expression of these emotional journeys.

Artiste

Maria Spanakis Maria Spanakis

Glass is the ideal medium for representing the fragmented self, the shame, and the vulnerability of a child deprived of a balanced relationship with a maternal figure. It captures the internalized anguish that persists into adulthood. Maria's creative curiosity was sparked by her fascination with the shapes created by the shadows projected on the walls and ceiling of her childhood bedroom. Today, this is highlighted by the sharp, straight angles of the geometric shadows, reminiscent of origami art. Under the simple effect of an external constraint imposed by the artist, folded paper is transformed into a three-dimensional sculpture, becoming a metaphor for the emotions experienced by young women searching for their identity. Her origami-inspired glass works evoke the fragility and anguish these women feel as they transition into adulthood. Text reprinted with permission from Espace Verre.

Glassgami

Année:
2023
Dimensions:
various
Matériaux:
Blown glass
Description:
Inspired by the ancient art of origami, I transform delicate paper forms into intricate glass sculptures. Each piece starts as a folded piece of paper, symbolizing the external pressures young women face while seeking identity, especially in the absence of a nurturing female role model. The fragile paper, like these young women, is shaped solely by the artist's hand, reflecting how external forces mold us. Glass, with its warm allure and sharp edges, mirrors the complexities of maternal love—inviting yet perilous if approached too closely. This duality is central to my work, symbolizing the delicate balance between affection and emotional pain. The folds in my pieces represent transformation under pressure, capturing the fragility, shame, and brokenness many feel when growing up without sufficient maternal support. Through glass, I give form to the internalized struggles of self-esteem and identity, offering a tangible expression of these emotional journeys.

Artiste

Maria Spanakis Maria Spanakis

Glass is the ideal medium for representing the fragmented self, the shame, and the vulnerability of a child deprived of a balanced relationship with a maternal figure. It captures the internalized anguish that persists into adulthood. Maria's creative curiosity was sparked by her fascination with the shapes created by the shadows projected on the walls and ceiling of her childhood bedroom. Today, this is highlighted by the sharp, straight angles of the geometric shadows, reminiscent of origami art. Under the simple effect of an external constraint imposed by the artist, folded paper is transformed into a three-dimensional sculpture, becoming a metaphor for the emotions experienced by young women searching for their identity. Her origami-inspired glass works evoke the fragility and anguish these women feel as they transition into adulthood. Text reprinted with permission from Espace Verre.

Contrequerre

Année:
2023
Dimensions:
4" x 22"
Matériaux:
Glass
Description:
Inspired by the ancient art of origami, I transform delicate paper forms into intricate glass sculptures using the pâte de verre technique. Each piece starts as a folded piece of paper, symbolizing the external pressures young women face while seeking identity, especially in the absence of a nurturing female role model. The fragile paper, like these young women, is shaped solely by the artist's hand, reflecting how external forces mold us. Glass, with its warm allure and sharp edges, mirrors the complexities of maternal love—inviting yet perilous if approached too closely. This duality is central to my work, symbolizing the delicate balance between affection and emotional pain. The folds in my pieces represent transformation under pressure, capturing the fragility, shame, and brokenness many feel when growing up without sufficient maternal support. Through glass, I give form to the internalized struggles of self-esteem and identity, offering a tangible expression of these emotional journeys.

Artiste

Maria Spanakis Maria Spanakis

Glass is the ideal medium for representing the fragmented self, the shame, and the vulnerability of a child deprived of a balanced relationship with a maternal figure. It captures the internalized anguish that persists into adulthood. Maria's creative curiosity was sparked by her fascination with the shapes created by the shadows projected on the walls and ceiling of her childhood bedroom. Today, this is highlighted by the sharp, straight angles of the geometric shadows, reminiscent of origami art. Under the simple effect of an external constraint imposed by the artist, folded paper is transformed into a three-dimensional sculpture, becoming a metaphor for the emotions experienced by young women searching for their identity. Her origami-inspired glass works evoke the fragility and anguish these women feel as they transition into adulthood. Text reprinted with permission from Espace Verre.

Instruments for Placid Flesh

Année:
2024
Dimensions:
14" x 14"
Matériaux:
Flameworked Borosilicate Glass
Description:
Inspired by the Fijian bulutoko, or "cannibal fork", Instruments for Placid Flesh is a piece consisting of three dining utensils that have been used for the consumption of raw animal flesh. They have each pierced, sliced, torn, and dipped themselves into raw marrow, blood, and tissue, and left preserved with the remnants of this simple, non-ritual act. They are no different than a dirty fork left in the sink after supper, but do they provoke the same reaction? Inspired by the peculiar way in which our modern society views and describes a certain subset of otherwise small and innocuous artifacts from a lonely island in the south pacific, Instruments is intended to induce critical thought about the fragile and often illogical nature of taboo, stigma, and bias.

Artiste

Collin Walsh Collin Walsh

I always wanted to be a mad scientist, though I never did end up getting around to doing that PhD. Instead, as a lampworker and visual creative, I merge classical forms of blown glass vessels with my own particular flavour of pop-surreal, ‘B -Horror’ aesthetic in order to create grotesque caricatures of everyday objects. Objects that, despite their inherent unpleasantness, organic and palpably repulsive ornamentation, are ultimately incredibly rewarding to touch and use. When we find ourselves confronted by the mystery & melancholy of de Chirico’s street corner, will we embrace the unfamiliar with open arms? Or shall we remain blissfully uninformed in the relative comforts of our ignorance? Personally, I think I’ll always find the former to be the more appealing option. Through my work with glass, I hope to force confrontation with deep seated aesthetic biases and explore my perennial fascination with the macabre, the surreal, and the beautifully grotesque.

Hymn of Solace for a Soft Machine

Année:
2024
Dimensions:
16" x 16"
Matériaux:
Flameworked Borosilicate Glass
Description:
Hymn of Solace for a Soft Machine is a modern reinterpretation of classic Greco-Roman votives, written in flameworked glass with the visual language of disgust. Faith and religion played an important part in the healthcare system of the ancient world, and parishioners would often leave intricate offerings of organs sculpted from terracotta or other materials at temples. Illness and disability are much more than the symptoms listed under an entry in a DSM manual, and their venom will seep its way into every pore and capillary of life. Inspired by my own struggles with disability and these historical examples of votive offerings from the Greco-Roman era, Hymn of Solace is an ode to all those who suffer, seen and unseen. A repulsive example of exquisite mortification, it is a prayer for renewal, health, and an end to anguish.

Artiste

Collin Walsh Collin Walsh

I always wanted to be a mad scientist, though I never did end up getting around to doing that PhD. Instead, as a lampworker and visual creative, I merge classical forms of blown glass vessels with my own particular flavour of pop-surreal, ‘B -Horror’ aesthetic in order to create grotesque caricatures of everyday objects. Objects that, despite their inherent unpleasantness, organic and palpably repulsive ornamentation, are ultimately incredibly rewarding to touch and use. When we find ourselves confronted by the mystery & melancholy of de Chirico’s street corner, will we embrace the unfamiliar with open arms? Or shall we remain blissfully uninformed in the relative comforts of our ignorance? Personally, I think I’ll always find the former to be the more appealing option. Through my work with glass, I hope to force confrontation with deep seated aesthetic biases and explore my perennial fascination with the macabre, the surreal, and the beautifully grotesque.

Jimson Weed

Année:
2024
Dimensions:
6" x 6" x 3"
Matériaux:
Flameworked Borosilicate Glass
Description:
Written in a similar aesthetic language to Hymn of Solace and the other pieces in this series, protrusions of tongues, growths of hair, and a suspiciously amorphous form adorned rolls, buldges, and folds highlight Jimson Weed as an object with undoubtedly peculiar, or even sinister purpose. To the contrary, taking cues from the historic role of Nkisi Nkondi idols made by the indigenous people of the Congo River basin, Jimson Weed is an object of catharsis and power- an instrument to take control and hold that newfound power over bad memories and daily struggles. The nails hammered into this repulsive thing (and through its obfuscated internals, representing the corruption of flesh and the lifeblood of disease) commemorate and provide a sense of control by describing the strongest symptoms, struggles, memories, and life consequences that have resulted from my experience with chronic illness. Ultimately, the unpleasant memories and events that I associate with my body and its failures are given corporeal form here in Jimson Weed. May the flesh of its own revolting body serve to showcase the sincerity and poignancy of these grievous occurrences and their impacts on the lives those who find themselves ill, sick, or suffering, and may they too find catharsis in this coordinated attack on the malevolence of disease.

Artiste

Collin Walsh Collin Walsh

I always wanted to be a mad scientist, though I never did end up getting around to doing that PhD. Instead, as a lampworker and visual creative, I merge classical forms of blown glass vessels with my own particular flavour of pop-surreal, ‘B -Horror’ aesthetic in order to create grotesque caricatures of everyday objects. Objects that, despite their inherent unpleasantness, organic and palpably repulsive ornamentation, are ultimately incredibly rewarding to touch and use. When we find ourselves confronted by the mystery & melancholy of de Chirico’s street corner, will we embrace the unfamiliar with open arms? Or shall we remain blissfully uninformed in the relative comforts of our ignorance? Personally, I think I’ll always find the former to be the more appealing option. Through my work with glass, I hope to force confrontation with deep seated aesthetic biases and explore my perennial fascination with the macabre, the surreal, and the beautifully grotesque.

(Omae ni Sasageyo)

Année:
2024
Dimensions:
11.188” x 3.375” x 0.5”
Matériaux:
Borosilicate Glass, Epoxy
Description:
(Omae ni Sasageyo) is a sculptural dip pen and ink holder inspired by Levi Ackerman from the anime Attack on Titan. It represents his character and his story, from his life in the Underground to his dedication as Captain and Humanity's Strongest Soldier in the Scout Regiment. Anime and manga have become a big part of my life, and mean more than simply shows or books to me. Immersing myself in these worlds has helped me move past difficult times, and making fan art is a way for me to express my love and appreciation to the mangaka, animators, and creators.

Artiste

Brianna Wong Brianna Wong

I have always loved art, even from a young age. Whether it is working with glass, wood, ceramics, digital modelling, drawing, taking pictures, or cosplaying, I love the freedom of creating! As a detail-oriented person, my work tends to be small-scale and intricate. I always try to push the boundaries of both my skills and the material I am working with. My inspiration varies widely – from emotions, to nature, and to anime and video games, it doesn't matter as long as I can create!

(Seiyaku × Seiyaku)

Année:
2023
Dimensions:
1.625” x 0.938” x 0.219”
Matériaux:
Borosilicate Glass
Description:
(Seiyaku × Seiyaku) is a chain ring inspired by Kurapika Kurta from the anime Hunter x Hunter, representing his character and his Nen power. Kurapika is extremely intelligent and his unwavering conviction is admirable. His chains, however, while extremely powerful and versatile, are also symbolic of the revenge and anger that blinds him. Seiyaku × Seiyaku is a piece that, when wearing, is a reminder to stay true to my own beliefs but to also find a balance and not chain myself down.

Artiste

Brianna Wong Brianna Wong

I have always loved art, even from a young age. Whether it is working with glass, wood, ceramics, digital modelling, drawing, taking pictures, or cosplaying, I love the freedom of creating! As a detail-oriented person, my work tends to be small-scale and intricate. I always try to push the boundaries of both my skills and the material I am working with. My inspiration varies widely – from emotions, to nature, and to anime and video games, it doesn't matter as long as I can create!

(Itterasshai)

Année:
2024
Dimensions:
1.563” x 1.375” x 0.625”
Matériaux:
Borosilicate Glass
Description:
(Itterasshai) is a pendant inspired by Mikasa Ackerman and Eren Jaeger from the anime Attack on Titan. Itterasshai captures the beautiful moment at the end of the story, where Mikasa is seen crying by Eren's grave and a bird suddenly appears and wraps her red scarf tighter around her before flying away. Attack on Titan was an intense story with incredible attention to detail and monumental plot twists. Paired with an incredible soundtrack in the anime, it is by far one of my all-time favourites and Itterasshai is meant to convey my love and appreciation for the story.

Artiste

Brianna Wong Brianna Wong

I have always loved art, even from a young age. Whether it is working with glass, wood, ceramics, digital modelling, drawing, taking pictures, or cosplaying, I love the freedom of creating! As a detail-oriented person, my work tends to be small-scale and intricate. I always try to push the boundaries of both my skills and the material I am working with. My inspiration varies widely – from emotions, to nature, and to anime and video games, it doesn't matter as long as I can create!