January/February 2022**Print**

Glass Art^®

January/February 2022
Volume 37
Number 1

 

Independent Artist

Katya Izabel Filmus

Navel Gazing

by Dr. Julie Denton

Photography by Yona Shlay and Chris Blade

Katya Izabel Filmus is a fine art glass artist living in Tel Aviv, Israel, who works predominantly in kiln cast glass. She is a master mold maker, and during her lengthy career in glass, Katya has created many prestigious commissioned works, many of which can be seen in major airports throughout the world.

 

Artist to Artist

Messages to My Younger Self

by Vicki Schneider

Photography by Carol Milne, Alice Christine Walker, Kimberly Roe, Kimberly Rae, and Tim Thayer

Artist to Artist presents a behind-the-scenes glimpse into artists’ beliefs, feelings, and practices and provides a showcase for their work. This issue explores what artists might have told their younger selves to ensure success with kiln casting artist Carol Milne, kiln forming artist Jen Fuller, cast glass and fusing artist Leslie Rowe-Israelson, and kiln cast glass artist Norwood Viviano.

 

ISGB News

Launching the New ISGB Education Platform

by Floor Kaspers, ISGB Education Director

ISGB participants who took part in recent online classes discovered several benefits to attending online. Included were the obvious benefit that they are more cost effective due to the fact that no travel is required. The classes, which can be viewed online for one year, can also be taken at a time that is convenient to the viewer, and all of the attendees are able to have an up-close view of the process at the torch.

 

Warm Glass Studio Profile

Anthony Amoako Attah, a Conduit for Culture

Telling Stories with Fragile Fabrics

by Joe Samuelson III

Photography by Araceli Rodriguez Ávarez, Colin Davison, and Anthony Amoako Attah

In Ghana, brightly colored and patterned fabrics known as Kente cloth are used as part of their historical preservation. Ghanaian glass artist Anthony Amoako Attah recreates these same vibrant colors and patterns in his kiln formed glass art. The patterns are unique in the way that they are each created to celebrate individual events and people.

 

CGS News

The Contemporary Glass Society

Turning Twenty-Five and Getting Better Every Year

by Susan Purser Hope, CGS Chair

Photography by Jo Howell, Alan Tabor, David Reekie, and Simon Bruntnell

To commemorate a quarter century of representing and promoting contemporary glass, CGS is presenting a fantastic program of both online and live exhibitions held around the UK plus a series of monthly themed events. One of the major highlights is the CGS featured exhibition, CGS—Then, Now, the Future, which features a chronological range of glass artwork from 25 of the UK’s greatest glass artists.

 

Glass Talk

Glass Lifeforms 2021

by Sara Sally LaGrand

Photography by Don Felton, Julia Fernandez, Jessica Tsai, Deb Crowley, Dean Benson, Wesley Fleming, Robert Mickelsen, Emanuel Toffolo, Jupiter Nielsen, and Caterina Urrata Weintraub

The work of the 19th century father-son hot glass artist duo, Rudolf and Leopold Blaschka, captured plants and animals in flameworked glass with incredible realism. The Fuller Craft Museum outside Boston, Massachusetts, will serve is serving as host to the Glass Lifeforms 2021 juried exhibition of fantastic flameworked art by current artists who have also captured plants and animals in extremely lifelike glass art forms.

 

Personal Development

Creativity—New Techniques and Equipment

Vacuum Encasement

by Milon Townsend

Encasement is the process of creating a finely detailed miniature glass sculpture and surrounding and embedding it in a mass of clear glass, which can be a difficult process to accomplish. When learning a new way for doing a particular technique, it usually takes extended practice but also the ability to take a break from it for a while to let it settle in to an artist’s ability to use the new technique.

 

Skills and Techniques

Achieving Fine Detail in Stained Glass Flat Panels

Techniques for Maximizing the Use of Copper Foil Tape and Overlay

by Lee Richards, PhD

Stained glass, unlike most art media, has limitations for what is possible when designing and constructing a composition. When using lead came, the widths of the seams are consistent but there are limitations in terms of the complexity of shapes and sizes of the glass pieces. Copper foil, on the other hand, offers more freedom to introduce intricate bends and turns into the artwork.

 

SGAA News

SGAA 2022 Summer Conference

Photography by Mark F. Heffron

The Stained Glass Association of America will be heading to Toledo, Ohio, to partner with Pilkington North America and the Toledo Museum of Art for the organization’s 2022 Summer Conference. SGAA’s annual summer conferences have served for more than 100 years to bring together artists and studios from across the country to provide a creative hub for artists, historians, manufacturers, and architects.

 

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