Photo by David Leyes, courtesy of marblemedia. All his glass is handmade using the same methods utilized since ancient times and it is signed and dated.American Craft Council American Craft Council Main navigation He has had exhibitions at the Corning Museum and has exhibited his glass in galleries in Seattle, California and New York since 1975. He says “I was always impressed with the frozen liquidity of glass, which seemed to mesh with my love for the ocean and surfing.” In 1987 he took over the operation of Blodgett Glass in California. Buzz learned many new techniques from the Swedish glassblower and currently uses them in many of his glass creations. These lines continually evolved and were refined over the years and in 1978 an important Swedish influence was discovered. Blodgett Glass has produced many lines starting with the “Music In Glass” line of bells and windchimes (1972-1982) followed by “Bubble Lites” (1975), “Space Lites” (1977) and “Sea Foam (1981). The family glassblowing studio flourished in the small Southern California artist beach community of Leucadia. He is on the Board of Directors of the Glass Art Society and he serves as Editor of GASnews. Currently, Michael is Associate Professor and head of the glass program at Palomar College. He has attended residencies and taught workshops on sculptural approaches to glassblowing, kilnforming, and neon at Pilchuck Glass School, Urban Glass, and numerous private and public institutions around the US. Hernandez earned a BFA from Emporia State University (KS) and an MFA from New York State College of Ceramics at Alfred University (NY). A connoisseur of craft and masseur of material, his practice moves through experimental excursions of processes, from the technically ambitious to the joyously naïve. Inspired by West Coast Funk and alternative folk movements, Hernandez embraces unlikely compositions in color and form where the space between seduction and repulsion is stretched, poked, and ruffled. He explores formal fanaticism through objects that excite the senses in visual play and fetishistic tactility. Michael Hernandez engages glass and light through sculptural forms and experiential spaces, exploiting the unique abilities to capture time and movement. This is a connection that happens between my conscience and sub-conscience, my mind and hands, the motion of the material and my own emotions, resulting in a physical object that conveys my essence". Working with the constant motion associated with hot glass forces me to intuitively engage with the material creating a constant collaboration between the material and myself. In this way objects from my experience become beautiful, yet un-functional, or are combined in a way to see the paradoxes through which I view the world. Color, form or historical meaning become a point of departure and focus while aspects that make these objects live or function in reality, become secondary or completely denied during the creative process. In my work, I observe objects from the world around me and convey ideas by identifying aspects of these object that I am drawn to. Humor, whimsy and imagination are a cathartic aspect of my studio practice that allow me to address more serious emotions from a place of playfulness.
These paradoxes lend themselves to speaking of conflicting ideas that inevitably accompany each other in the mind and throughout life’s experiences.
NAO BLOWN AWAY FULL
"Glass is, at once, fragile and strong, beautiful and dangerous, full of movement and static.
I try to emulate the movement of sea life in a simple contemporary form,” says Caldwell in her personal statement. “Although my inspiration comes from the ocean, I am most intrigued by capturing movement. Caldwell now lives and works in Kingston, Washington, where the Pacific Ocean continues to influence her work. Jennifer Caldwell AKA Umphress creates work that draws inspiration from her environment.īorn and raised in California, she began working with glass in 2000 while living in Hawaii.
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